Quotes of All Topics . Occasions . Authors
Even though I am in this weird position of being a semi-recognizable screenwriter, which isn't that common, at the same time, I'm not an actress. I'm pretty isolated.
They say the pen is mightier than the sword and I would like to have the ability to write things down and make them happen. So I guess I would like to be a screenwriter.
A lot of writers want everything put on screen, but it doesn't work like that. The screenwriter brings her own imaginative interpretation, just as the director and actors do.
What I want is to be the highest grossing screenwriter, or to have some other woman be the highest grossing screenwriter, instead of being number nine on the list. That's my goal.
I am a newspaper columnist and a professional screenwriter, but my real love is the novel for all the room it has for characters to come alive and breathe and face their challenges.
Real pirates were better than in movies, more daring and terrifying and cunning than any screenwriter could imagine. They operated during the Golden Age of Piracy, from 1650 to 1720.
I definitely had some heated but extremely productive chats with screenwriter Justin Monjo, but while it's my story, it's their movie, so I have to allow for compression and poetic license.
I was just starting out, trying to become a screenwriter, and I became the Austin slam champion three times. For a nerdy, kind of a socially awkward guy, that did wonders for my self esteem.
If you want to be a screenwriter, take an acting class to get a sense of what you're asking actors to do. Learning other skills will help you communicate with people and respect what they do.
Nothing, I find, has prepared me for the sight of my own characters walking about. A playwright or screenwriter must expect it; a novelist doesn't and naturally concludes that she has gone mad.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
My father was a screenwriter, and I kind of grew up in that world. I always had a mind for characters and dialogue, and my head was filled with that stuff, so it seemed like a good place to start.
It was okay but then I found myself in that position of being merely a screenwriter. And you are merely the screenwriter, and there's no way around it. You don't have the same clout as the director.
When I was growing up in the south Indian city of Madras, there were only two political parties that mattered; one was run by a former matinee idol, and the other was run by his former screenwriter.
I probably could be a world-class screenwriter by now if I had spent the kind of work I devote on Comedy Death-Ray to that. But I do okay, in that regard. I mean, my stuff gets bought, so it's all right.
You have to determine what you are and send the messages out to people, like, 'Hey, I'm a screenwriter - look at this.' You can't sit around, wondering why people aren't calling and asking about my writing.
My daughter has seen the transition from struggling screenwriter to successful picture book author, and she's enjoyed it very much because she's a wonderful little kid. And she's always believed in her daddy.
What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.
With a novel, you're the director and the screenwriter and everything else, except that you have to write it knowing it will all be performed inside the head of the reader. So it's a difficult and lonely task.
I look at myself more as a storyteller than a screenwriter, as pretentious as that may sound, but that's what really attracts me to TED Talks. For me, the really effective ones are being presented by expert storytellers.
To have someone like Clint Eastwood come along and shoot your first draft as written is just any screenwriter's dream. And Clint is very straightforward. If it's good enough to get his attention, it's good enough to produce.
Over the years, I've realized that I have as much in common with the performance artist, the standup comedian, the screenwriter, as I do with the theologian. I'm in an odd world where I make things and share them with people.
Being a professional screenwriter is perhaps the hardest occupation. Because nothing is ever yours and, by the nature of the medium, you are never ultimately responsible for your work. It can be interesting - if you have another outlet.
When I tell people I'm a screenwriter, people think I'm automatically artistic, but hell no. I like being part of a team, and I like having a skill that the team values. It's like laying bricks, and I try to be the best bricklayer I can.
If a novelist has created vivid characters, interesting relationships, settings the reader can easily imagine, and intriguing stories, a screenwriter has loads to work with. The challenge comes with deciding what to cut and what to keep.
House Intelligence Committee Chairman Adam Schiff, D-Calif., whose youthful dreams of being a successful Hollywood screenwriter never materialized, is proving to the world that he does indeed have a talent for concocting fictional stories.
I started out my career as a screenwriter and quickly discovered that adhering to a script isn't always the best way to make a film. You have to take into consideration the nuances of the characters and what the actors bring to their roles.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
As a screenwriter, you always have frustrations. It's just the nature of the job, and you have to live with it. Your vision is not going to be the same as the director's vision. It doesn't mean one is better or worse; it means they're different.
Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.
As a screenwriter, there's so many layers you have to go through in order to tell your story. You have to write the script, get money for the script, shoot it, find distributors, make it into film festivals, all of that just to get to your audience.
Vidal was a novelist, an essayist, a playwright, a screenwriter, and many other things. Buckley started a magazine, hosted a TV show, lead a political movement, and was a master debater. They were multihyphenates in a way that you rarely see anymore.
Ever since I was young, 14 or 15, I wondered if you could write a book that combined the visceral thrill of watching a movie with the total immersion you feel when you're inside a good book. And I had some success as a screenwriter before I began writing books.
Starting in '98 when I was researching 'Traffic,' I got to meet really serious people in Washington, which for a screenwriter was kind of a great gift. And I really valued these guys; I stayed in touch with them, and I find their point-of-view quite interesting.
And I didn't grow up wanting to be a director. I grew up wanting to be a writer, so for me, that was always the goal - to be a novelist, not a screenwriter. And I think, again, if I didn't have the novels, maybe I'd be much more frustrated by not having directed yet.
The absolute base-level thing that you do as a new screenwriter is send out query letters. Literally, you just say, 'Hi, Mr. So-and-So,' and you give them a one-sentence description of one of your scripts. You send it out to a list of people you found on the Internet.
My first job was as a groundskeeper at the local ballpark in the town where I grew up. There was a lot of down time, and I got to drive tractor, so it was pretty good gig. I've also taught creative writing, dabbled in reviewing and journalism, and toiled as a screenwriter.
As a screenwriter, you are so used to things going in directions that you wouldn't have taken, so to be able to say, 'This is how I intended it, this is how I want to shoot it, and these are the decisions that I'll live by,' I think directing is a logical conclusion of mine.
Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.
I was a painter, then a novelist, then a journalist, then a screenwriter, and now I'm a director, and it feels all part of the same continuum. One led to the other, and it just feels like the natural confluence of all the ways of storytelling that I've been doing for almost 30 years.
There is the cult of the actor and of the director, and there's even been the cult of the celebrity chef and gardener, but there has never been a cult of the screenwriter. But I'm happy about that because what I crave - in a completely venal way - is creative opportunities, not recognition.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
My dad, who is a screenwriter, showed me all these great movies. He showed me 'E.T.' when I was 2-years-old, and I just kind of progressed from there. It was also my brother. We'd always watch movies together, and he'd do these voices and he'd always want to do skits and he'd come up with stuff with me.
My mom's a screenwriter, and before that, she was an actress, and my father was an actor; my stepfather was a director, so I was on sets a lot as a kid. I loved the magic of the set. You walk in, and it's a living room, and you walk outside, and it's just a piece of wood held up by another piece of wood.
Very often, things that people may think come from the writer, very often don't. There's a lot of cooks in the kitchen when it comes to making a movie. When you hear a line of dialogue that sounds kind of tinny, it's pretty easy to cite the screenwriter. But there's a lot of stuff that goes into making a movie.
Acting is many things. Acting is playing lines, of course, but it's much more profound than that. Acting is truth-telling and trying to find the truth in a human situation, which will be sketched out by a screenwriter with all the skill that a screenwriter can do; but in the end, that's just the map of the journey.
A screenwriter heard me read from my novel 'The Wishbones' when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.
Young screenwriters are always very frustrated when they talk to me. They say, 'How do we get to be a screenwriter?' I say, 'You know what you do? I'll tell you the secret, it's easy: Read 'Hamlet.' You know? Then read it again, and read it again, and read it until you understand it. Read 'King Lear,' and then read 'Othello.'
There's this movie, 'Zero Dark Thirty' about the hunt for Osama bin Laden. Some have complained that too many 'secrets' were dished out by the intelligence and special operations communities to director Kathryn Bigelow, screenwriter Mark Boal and their crew, part of a broader pattern of using intelligence for political effect.
When you're a screenwriter working on a film, you're not really even welcome on set, even if you know... When I wrote 'Elizabeth' and Shekhar Kapur was a friend of mine, but I wasn't really welcome on set, because the director is God and it's a very difficult position for a screenwriter who's put so much passion into that, into the writing.