I take it very seriously, music. I think it's one of the tools that a director has with which to kind of paint. The right music can sometimes do five pages of scripted dialogue.
I'm used to adapting my novels for feature film - it can be challenging to cut and compress three or four hundred pages into two hours of dramatic action.
I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.
Sometimes you do feel a script that glows in your hand the moment you start reading it. By page four of Shakespeare in Love, I said, 'I have to be in this movie.
I'm pretty disciplined to keep the momentum of a story going by writing everyday, even if it's only a couple paragraphs or a page or two.
All we need to do, reader or writer, from first line to final page, is be as open as a book, and be alive to the life in language - on all its levels.
After college, I went into the NBC Page Program. It's one of those great programs that allows kids to get their feet wet in every area of the business.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.
You know, episodic TV directing is a very long and arduous job. You have very short schedules, short short shooting days, and you have to get lot of pages done.
On the Native American front, we have turned a new page in the 400-year history of the interface between the American settlers of this country and the nation's first Americans. That's included a new relationship where the sovereignty of tribes is in fact recognized.
This is the free enterprise system. The only place in the world that I can recall where companies never failed was the old Soviet Union. This is what investors do in free enterprise and capitalism system. [...[ And, yes, free enterprise system can be cruel. But the problem with this administration is that small businesses are the one who had suffered the most, the kind that need investors, the kinds that don't need the hundreds of pages, thousands of pages of regulations that continue to plague them and have them hold back on the hiring investment.
Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.
I plot as I go. Many novelists write an outline that has almost as many pages as their ultimate book. Others knock out a brief synopsis... Do what is comfortable. If you have to plot out every move your characters make, so be it. Just make sure there is a plausible purpose behind their machinations. A good reader can smell a phony plot a block away.
It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.
Don't talk about it - you'll talk it away. Let the ideas flow from your mind to the page without exposing them to air. Especially hot air.
The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it's about and why you're doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising ("but of course that's why he was doing that, and that means that...") and it's magic and wonderful and strange.
I like to be able to come and go as I please, and I don't really like having my face and name plastered around. I think it's a bit weird to have your name plastered on every page in a magazine, where in each case you're using a different piece of equipment.
Whatever struggle happened between brothers, let us forget about it and turn the page forever and live united.
I write in a pretty straightforward way. I kind of sit down at page one and start writing.
Never sit staring at a blank page or screen. If you find yourself stuck, write. Write about the scene you're trying to write. Writing about is easier than writing, and chances are, it will give you your way in.
I was studying American politicians who were searching - allegedly - for American communists because it would put them on the front pages of the papers in their home towns.
No one I know of has ever had this experience-where you had to sit and wait and wait for a DNA test to come back just so you can write the last page of the book.
I'd always envied actors who got to play real people or got to do research. I've always just had these scripts where, I mean not in a bad way, but it was right on the page.
Sometimes when you write something on the page, it can seem very funny, but when you act it out - and this happens to me a lot, actually - the melancholy of the situation becomes more front and center.
The Rift, which was well over a thousand pages of manuscript, took two years.
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