I would love to see more women directors because they represent half of the population and gave birth to the whole world. Without them the rest [of the world] are not getting to know the whole story.
Men are like steel. When they lose their temper, they lose their worth.
Read. Read. Read. Just don't read one type of book. Read different books by various authors so that you develop different styles.
If you want to be a great director, be a great screenwriter.
I knew that [director/screenwriter] Catalina Aguilar Mastretta had an amazing take on the female psyche and the modern woman and the modern immigrant woman living in the U.S., and I really saw the need for a story told of our daily lives without being a statistic and without just trying to hit a demographic, and I felt that with this one.
I've always felt that music is more expressive than dialogue. I've always said that my best dialogue and screenwriter is Ennio Morricone. Because, many times, it is more important a note or an orchestration than a line said.
John Logan is maybe the No. 1 screenwriter in the world today, not to mention that he won a Tony for Best Play for Red. So he may just be the best writer period right now. He wrote The Aviator, and I was in New York doing a play, and he asked if they would see me for the film, just meet with me. 'Cause that's what Martin Scorsese does.
Developing films with directors, developing films with actors, is a poor percentage play for a screenwriter.
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.'
I was 21, when I heard the story that inspired this [thriller Allied], and I wasn't even a screenwriter then.
One of the series of decisions that the great screenwriter John McNamara made was about who to depict. [Ronald] Reagan had a role in HUAC, he was a friendly witness, but never went over-the-top about it.
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.
I have a lot of screenwriter friends and many of them have had an experience where they aren't even welcome on set during production.
I would say, and as I have said before, the series [Narcos] does not demonstrate real happenings but rather events that the screenwriters, in their own taste, believe depict the way we lived.
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.
Whenever I work on a film, I have three rules. Only three and I tell them to every screenwriter. I say let's retain the spirit and the intent of the overall story. Let's make it the best film that we possibly can.
About a year ago I got really exhausted from reading bad scripts and I know that I am a writer and that I have stories to tell, so I thought, 'Let's do this!' So I'm co-writing a screenplay now with another screenwriter and loving it. Absolutely loving it. And I would like to be the producer on the project and of course the lead is me.
It's really hard as a screenwriter, you feel like you have a vision and then you turn it over to a director and you have to let it go.
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.
Even Hollywood millionaires are now clamoring for legal protections for their illegal-alien nannies and gardeners, though such elites would hardly countenance a similar legal laxity that would allow foreign film technicians, screenwriters, and actors to flood southern California to work in their industry for a fourth of their own pay.
I would encourage you as a screenwriter to trust your story and don't make notes for the actors or don't make notes for the reader.
Though 'Moneyball' had the talents of screenwriters Steven Zaillian and Aaron Sorkin going for it, they weren't baseball insiders.
My mom was a screenwriter. I saw a lot of people who didn't seem very fulfilled creatively or otherwise by their roles in the motion picture industry.
The Iraq war is a huge subject and there have been many films about it. But it was when the private contractors started taking over and taking responsibilities from the regular army, which hides the war. You have these private armies of mercenaries acting with immunity for their actions, the worst of which was the Blackwater case where they killed 17 Iraqi civilians and the guys who did it just went home. We [screenwriter Paul Laverty and Loach] felt this deserved a story.
I've always been a bit repelled by "Sunset Boulevard", which is wrong about almost everything it touches, whether it's fame, Hollywood, screenwriters, or old ladies. Sunset Boulevard would only make sense to me if it was about John Gilbert and the pool boy.
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