You define your own life. Don't let other people write your script.
I knew I could only play Cyrano if he were Americanized. I had no intention of writing the script myself. I was afraid of it. You're playing with fire when you tamper with a classic. So I went looking for a writer. But it was such a personal idea, and anyone I would give it to would make it his own. It's hard to ask Neil Simon to write your idea.
I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.
When I started out, nobody gave me scripts, so I had to write...
When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.
If God is the author of life, there must be a script.
I wanted to put a reference to masturbation in one of the scripts for the Sandman. It was immediately cut by the editor [Karen Berger]. She told me, "There's no masturbation in the DC Universe." To which my reaction was, "Well, that explains a lot about the DC Universe."
The secret of making movies is having the strongest possible script.
The most important thing is the story. Not the script, but the story.
I think a badly crafted, great idea for a new film with a ton of spelling mistakes is just 100 times better than a well-crafted stale script.
I wrote the script of Patton. I had this very bizarre opening where he stands up in front of an American flag and gives this speech. Ultimately, I was fired. When the script was done, they hired another writer and that script was forgotten.
The reason I turn down 99% of a hundred, I mean a thousand, scripts is because romantic comedies are often very romantic but seldom very funny.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'
Most aspiring screenwriters simply don't spend enough time choosing their concept. It's by far the most common mistake I see in spec scripts. The writer has lost the race right from the gate. Months - sometimes years - are lost trying to elevate a film idea that by its nature probably had no hope of ever becoming a movie.
You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.
Acting should be bigger than life. Scripts should be bigger than life. It should all be bigger than life.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
It's hard to find scripts that know what they are from page one to page 115.
To the question of writing at all we have sometimes been counselled to forget it, or rather the writing of books. What is required, we are told, is plays and films. Books are out of date! The book is dead, long live television! One question which is not even raised let alone considered is: Who will write the drama and film scripts when the generation that can read and write has been used up?
When I do a movie, I have the script. I know how it begins and how it ends. I know what my character does and where he's going. If I have ideas I want to express or changes I want to make, there's one guy: the director. It's different in television.
You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin.
Here's what I didn't know when I was starting out that I now know…I thought when you were starting out it was really hard to write because you hadn't broken in yet, you hadn't really hit your stride yet. What I found out paradoxically is that the next script you write doesn't get easier because you wrote one before…each one gets harder by a factor of 10.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
Independent will is our capacity to act. It gives us the power to transcend our paradigms, to swim upstream, to rewrite our scripts, to act based on principle rather than reacting based on emotion or circumstance.
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