The difference between life and the movies is that a script has to make sense, and life doesn't.
The difference between a movie star and a movie actor is this - a movie star will say, 'How can I change the script to suit me?' and a movie actor will say. 'How can I change me to suit the script?'
I like it when you read a script and there's the part that you show to the other characters and then there's the part that only the audience knows.
It is easier for a cannibal to enter the Kingdom of Heaven through the eye of a rich man's needle that it is for any other foreigner to read the terrible German script.
To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.
A movie goes from several stages, from idea to script. As you continue shooting, you will make some adjustments. You're constantly adjusting. It's like a piece of music. You're constantly trying to make it better.
To me, movies and music go hand in hand. When I'm writing a script, one of the first things I do is find the music I'm going to play for the opening sequence.
The script is what you`ve dreamed up - this is what it should be. The film is what you end up with.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.
Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.
A good film script should be able to do completely without dialogue.
I only sound intelligent when there's a good script writer around.
When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.
I'm most suspicious of scripts that have a lot of stage direction at the top of the page sunrise over the desert and masses of a whole essay before you get to the dialogue.
What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, youve got to keep reinventing yourself to stay on top.
When you have a good script you're almost in more trouble than when you have a terrible script.
Success is not important to me, nor are power or money. If the script feels good, then I'm in. It's that simple.
Everything you do on set is directly related to your imagination when you read the script for the first time.
The only thing that gets me back to directing is good scripts.
Anyone can write. But comedy, you've got to do some writing. You get one comedy script to every 20 dramas.
I don't look at scripts. I just write them.
It all starts with the script: it's not worth taking myself away from my family if I don't have something I'm really passionate about.
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