Screenplay Quotes

Quotes tagged as "screenplay" Showing 1-30 of 32
Shannon L. Alder
“Personality begins where comparison leaves off. Be unique. Be memorable. Be confident. Be proud.”
Shannon L. Alder

J.K. Rowling
“My philosophy is that worrying means you suffer twice.”
J.K. Rowling, Fantastic Beasts and Where to Find Them: The Original Screenplay

“Our fingerprints don't fade from the lives we've touched.”
Will Fetters, Memoirs

Jane Austen
“Captain Harvile: Poor Phoebe, she would not have forgotten him so soon. It was not in her nature.

Anne Elliot: It would not be in the nature of any woman who truly loved.

Captain Harvile: Do you claim that for your sex?

Anne Elliot: We do not forget you as soon as you forget us. We cannot help ourselves. We live at home, quiet, confined, and our feelings prey upon us. You always have business of some sort or other to take you back into the world.

Captain Harvile: I won't allow it to be any more man's nature than women's to be inconstant or to forget those they love or have loved. I believe the reverse. I believe... Let me just observe that all histories are against you, all stories, prose, and verse. I do not think I ever opened a book in my life which did not have something to say on women's fickleness.

Anne Elliot: But they were all written by men. ”
Jane Austen

“……, but as I am a scholar I feel obliged to document what it is like here, most of the time, between the dramatic climaxes. In truth it is like this: You cannot imagine how time can be so still. It hangs. It weighs, and yet there is so little of it. It goes so slowly and it is so scarce. If I was writing this scene it would last a full 15 minutes. I would lie here and you would sit there.”
Margaret Edson, Wit

Zack Love
“When you look for beauty, you usually end up finding it.



From Central Park Song (A Screenplay)”
Zack Love, Stories and Scripts: an Anthology

“[Will Turner] "You didn't beat me. You ignored the rules of engagement."
[Captain Jack Sparrow] "...that's not much incentive for me to fight fair then is it?”
Ted Elliot and Terry Rossio

“Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars.

But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all.

To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to
get ahead.

The truth is, you don’t.

If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again.

If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it.

Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.”
Brian Koppelman

Sara Sheridan
“The lively oral storytelling scene in Scots and Gaelic spills over into the majority English-speaking culture, imbuing it with a strong sense of narrative drive that is essential to the modern novel, screenplay and even non-fiction.”
Sara Sheridan

Zack Love
“ERIC: What are you always writin' in that book anyway?

RODNEY: Poetry.

TYRONE: Poetry?

Rodney stops sketching and sentimentally flips through a few dozen pages of sketches and handwritten poems and notes.

RODNEY: Poetry and pictures. Snapshots of our lives developed in the darkrooms of our souls."

From CENTRAL PARK SONG -- a screenplay”
Zack Love, Stories and Scripts: an Anthology

Zack Love
“And today is really the happiest day of your life, because today you woke up and stumbled across the shadow of your soul in broad daylight."

From Central Park Song: a Screenplay”
Zack Love, Stories and Scripts: an Anthology

Guy Maddin
“Sadness is just happiness turned on its ass—it's all showbiz!”
Guy Maddin

Syd Field
“La cosa più difficile quando si scrive è sapere che cosa scrivere”
Syd Field

Zack Love
“Everyone needs beauty. Even beautiful people"


From "Central Park Song”
Zack Love, Stories and Scripts: an Anthology

Zack Love
“I wish I knew how to get you back. And apparently fate won't let me give up"


From Central Park Song: a Screenplay”
Zack Love, Stories and Scripts: an Anthology

Ana Claudia Antunes
“Why does Kubrick always chill our blood, and make us huddled up scared stiff with eyes wide shut? Because even dead he's still "Shinnying" with his old hand and his eye-catching plots.”
Ana Claudia Antunes, The Mysterious Murder of Marilyn Monroe

“Would you not say that peace is the greatest desire of true soldiers? Do we not have the most to lose from war? And businesses, most of them except military and oil ones, most of them have a vested interest in peace and prosperity. You cannot sell a house to a war refugee living in a tent, can you? Really hard tto sell an iPhone to a shattered victim. Businesses and corporatoons run this country. So yuou have to approach them with logic. Emotional appeals to the hippies of this world will not change minds. Stick to logic.

- Shane Gibson, candidate for Governor, THE PLATOS ASCENSION BRIEF.”
Earl Devere

Sarah Gerdes
“An author is an expert in the written word. The author must make a choice; to either trust and support the filmmaker’s approach, or not have a film made at all.”
Sarah Gerdes, Author Straight Talk

“If the director himself writes the script or screenplay of the drama, movie etc., the direction becomes perfect because he already imagined each shot nicely in his brain while writing the screenplay!”
Md. Ziaul Haque

“Certain words, certain expressions. Things like ‘I love you’ and ‘I hate you.’ They’re big traps for actors. They can tempt you away from the connection you’ve developed with your partner and lead you into swamplands of clichéd performing. ‘Love’ and ‘hate’ are powerful words, and for some reason, we feel like we must fulfill them—and other words like them—whenever we say them. But we don’t have to.”

Bill turns to Adam. “Actors hit that line—‘you know I’m absolutely crazy about you. Don’t you?’—and go all kablooey. Your head’s saying, ‘How can I not say a line like that without letting love swim into the duck pond? But inside you’re saying, ‘To hell will love! This girl’s really pissed me off, breaking off an important date like that.’ Follow your true inner response. It will never lead you astray. You’ll be bubbling up with impatience and irritation and you’ll say a line like that and it’ll have new meaning. It’ll have your meaning. Remember: Bad actors consciously adjust their inner responses to what they think the lines of the text require. Good actors adjust the text to the inner emotional line created by their sensitized responses to the other actor.”

Adam says, “I get it. I was trying to act the words.”

Bill nods. “You were manipulating yourself, cutting off our real response in order to live up to what you thought the text demanded of you. But any line can mean anything, and come out of you in any way.”
William Esper, The Actor's Art and Craft: William Esper Teaches the Meisner Technique

“The personal screenplay- where you dive into the terrifying depths of your soul, unearth the most intimate details about yourself, and put it on paper for the world to see. Proceed with caution, for madness lies ahead.”
A.D. Posey

“When you begin a new story, your job is to envision, to try to glimpse stuff that doesn't as yet exist. That's what writing is, going out to meet the ghosts of the future. Not out of the past, not the ones that are dead and buried. Ghosts of the future, those who don't exist yet.”
Cédric Klapisch (screenplay writer); spoken by Xavier Rousseau in Casse-tête Chinois (Chinese Puzzle

“Lonliness is a bitch, but then so is alimony and child support.

- a very disillusioned Apoorva, THE PLATOS ASCENSION BRIEF.”
Earl Devere

“দি ডিরেক্টর নিজে নাটক, চলচ্চিত্র ইত্যাদির চিত্রনাট্য লিখেন, তবে ডিরেকশন নিখুঁত হয় কারণ তিনি চিত্রনাট্য লেখার সময় প্রতিটি শট তার মস্তিষ্কে সুন্দরভাবে কল্পনা করে নেন!”
Md. Ziaul Haque

“যদি ডিরেক্টর নিজে নাটক, চলচ্চিত্র ইত্যাদির চিত্রনাট্য লিখেন, তবে ডিরেকশন নিখুঁত হয় কারণ তিনি চিত্রনাট্য লেখার সময় প্রতিটি শট তার মস্তিষ্কে সুন্দরভাবে কল্পনা করে নেন!”
Md. Ziaul Haque

“No. You got it wrong. It’s not
about sounding all nasal. It’s
about sounding like you don’t have
a care. Like your bills are paid
and you’re happy about your future
and you’re about to jump in your
Ferrari when you get off this call.
Put some extra breath in there.
Breezy, like you don’t need this
money, like you never been fired,
only laid off. It’s not what all
White people sound like- there
ain’t no real White voice, but it’s
what they wish they sounded like.
It’s what they think they’re
supposed to sound like.”
Boots Riley, Sorry To Bother You

“You honor me by bringing Death to my front door.”
Darek Kolstad, Shay Hatten. Chris Collins, Marc Abrams

Michael Mann
“You stay alive, no matter what occurs! I will find you. No matter how long it takes, no matter how far, I will find you.”
Michael Mann

“They tell us not to follow the stars and that it is blasphemous but the same people tell us the story of Three Wise Men that found the Son of Suns by following the same stars.

We should learn that following those tiny lights that protest total darkness and smile at the moon no matter her mood, is the route to sunrise. Those lights are the seedlings of your own faith in tomorrow...

(Screenplay)”
Nicole Bonomi

David Bordwell
“Someone might ask, if the dynamic of innovation consists of schema and revision, where does true originality come from? Is there no single work we can point to as the ultimate source of this or that new storrytelling strategy? I'm inclined to say there is no such source. Artists working in mass art forms find originality by revising schemas in circulation, or by revising ones that have fallen into disuse.”
David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling

« previous 1