I knew I had to write a good screenplay to be taken seriously, and I knew I needed to present Mississippi on visuals instead of just saying, 'Hey I wanted to film it in Mississippi.' It would seem like it was a hometown boy just wanting to be home.
I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.
I was in Los Angeles making 'Dead Again' and the producer, Lindsay Doran , asked me if I'd be interested in adapting this book, .. Austen is my favorite author and I thought, 'Well, of course, I'd be very interested, but I don't know how. I don't know where to start, A, writing a screenplay and B, sort of adapting it from a great novel.
A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
Stallone is a great writer. He wrote one of the best screenplays ever written. Rocky. It is one of the biggest classics of all time. I think in the past, he was shying away from writing his own stuff, because there is a lot of pressure when you star in something that you write.
Natural writers will often try to force themselves into a form - novel, story, screenplay, or poem - that is not necessarily the appropriate form for the way they see the world... if, in fact, they are writing from the artist's impulse, which is a deep, inchoate vision of some sort of order behind the apparent chaos of life on planet earth, they'll be driven then to express that vision in the creation of the object - the art object.
I've always said that movies are kind of like love affairs. Two people come together, and if they're at the right place at the right time and it's the right situation, it clicks. I've always felt that I've connected with screenplays. It's the romantic in me.
Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'
If you have a good story idea, don't assume it must form a prose narrative. It may work better as a play, a screenplay or a poem. Be flexible.
End production today. Wrap party as usual a little sad. Slow danced with Scarlett. Broke her toe. Not my fault. When she dipped me back, I stepped on it. Penélope [Cruz] and Javier [Bardem] anxious to work with me again. Said if I ever come up with another screenplay to try and find them. Goodbye drink with Rebecca [Hall]. Sentimental moment. Everyone in cast and crew chipped in and bought me a ballpoint pen.
I really just love to open a blank document and spew, whereas with a screenplay I have to be more judicious.
I've come to find more satisfaction and enjoyment in writing screenplays over the years because that's what I do primarily now.
In 2009, Scott Rudin sent me August's [Wilson] original screenplay [Fences] and asked me what I wanted to do with it. He wanted to know if I wanted to act in it, direct it or produce it. I said, "Well, let me read it first."
In the past, I'll admit, I've enjoyed being compared to the protagonists in my screenplays.
I wrote a screenplay for a 'Sweet Valley High' adaptation, and it's really amazing to me how many women who are my age have responded to the idea and are excited about the movie.
When authors who write literary fiction begin to write screenplays, everybody assumes that's the end. Here's another who's never going to write well again.
There's a million things that come through when you put songs together and it's kind of difficult to pinpoint exactly what triggers it on every occasion. It's just like somebody writing a screenplay or something like that.
Still, these days when I daydream about the movie, I don't think about the big picture. It's more fun for me to think of little things that would add to the movie. I like to think the powers that be would let me amuse myself with some small things in order to shut me up while they re-write the screenplay to turn Kvothe into a lesbian, shape-changing unicorn.
I've had a real lucky time working in Hollywood. I've talked to other screenwriters, and they're all kind of beaten down and their spirits are crushed, because they work on these screenplays and these projects, and then directors either take them and change everything, rewrite them and make them worse, or they film them and they're nothing like how they imagined it to be.
If you play it straight it's funny - the best comedy is always played straight down the middle. The adjustment is understanding from the screenplay that a moment is hilarious.
If I could find the right kind of property, get tied in with the right movie, I'd love to be involved, but I just find it hard to be motivated to do another screenplay right now.
As human beings, of course, we're all compromised and complex and contradictory and if a screenplay can express those contradictions within a character and if there's room for me to express them, that's a part I'd love to play, so much more than a character who is heroic and one-dimensional.
If I really considered myself a writer, I wouldn't be writing screenplays. I'd be writing novels.
I have always had trouble recognizing myself in the features of the intellectual playing his political role according to the screenplay that you are familiar with and whose heritage deserves to be questioned.
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