Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?"
A good film script should be able to do completely without dialogue.
Being a writer in Hollywood is like going to Hitler's Eagle Nest with a great idea for a bar mitzvah.
Consider: for all the gobbledegook [film studio] executives spout about backstory, all that we, the audience, want to know is what happens next. That's the only thing that's going on. . . . Character is nothing other than action, and character-driven means The plot stinks, and you'd better hope the star is popular enough to open the movie in spite of it.
Films have degenerated to their original operation as carnival amusement - they offer not drama but thrills.
"Based on a true story" is a come-on, the aesthetic equivalent of "no loan request refused." For, at best, the creator has fashioned a film based on his understanding of, interpretation of, and reduction of the report of an actual occurrence.
Film is a collaborative business: bend over.
I don't have any experience with film schools. I suspect that they're useless, because I've had experience with drama schools, and have found them to be useless.
The dream and the film are the juxtaposition of images in order to answer a question.
Hitchcock denigrated American films, saying they were all 'pictures of people talking' - as, indeed, most of them are.
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