Quotes About Screenwriting

Quotes tagged as "screenwriting" (showing 1-30 of 73)
Carrie Fisher
Karl Marx: "Religion is the opiate of the masses."

Carrie Fisher: "I did masses of opiates religiously.”
Carrie Fisher, Postcards from the Edge

Robert McKee
“If the story you're telling, is the story you're telling, you're in deep shit.”
Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting

Melissa Keil
“I think, because…well, I like the idea of coming up with a story that never existed before, but I don’t really want to be in charge. I don’t want to be famous. I guess I like the idea of sitting in the dark and knowing that I created the thing on screen, that it’s my story, but, like, no-one else has to know it was me. Does that make sense?”
Melissa Keil, Life in Outer Space

Robert McKee
“All writing is discipline, but screenwriting is a drill sergeant.”
Robert McKee, Story: Substance, Structure, Style, and the Principles of Screenwriting

Darlene Craviotto
“Collaborating on a film script involves two people sitting in a room separated by the silence of two minds working together.”
Darlene Craviotto, An Agoraphobic's Guide to Hollywood: How Michael Jackson Got Me Out of the House

“It's an enormous wall that's built between you and your dreams. And if every day, you just chip away... It may take ten years, but eventually you just might see some light.”
Edward Burns

Dave Barry
“Simply by eliminating description, the screenwriter can work his way through the entire plot in a single morning, leaving the afternoon free for screenwriter leisure activities such as drugs.”
Dave Barry, I'll Mature When I'm Dead: Dave Barry's Amazing Tales of Adulthood

John Crowley
“When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.

The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.

In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.

Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.”
John Crowley, Novelty: Four Stories

Gerard de Marigny
“Of all the most devastating sounds in the universe, silence is the most powerful.”
Gerard de Marigny

“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

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

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

“... the midpoint of each film is the moment when each protagonist embraces for the first time the quality they will need to become complete and finish their story. It's when they discover a truth about themselves.”
John Yorke, Into the Woods: A Five Act Journey Into Story

“All tales, then, are at some level a journey into the woods to find the missing part of us, to retrieve it and make ourselves whole. Storytelling is as simple - and complex - as that. That's the pattern. That's how we tell stories.”
John Yorke, Into the Woods: A Five Act Journey Into Story

Paul T. Scheuring
“In prose, when you wrote something, it's symphonic… There's something ethereal in that process that's euphoric.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“The Hollywood process is a living thing and you get used to that.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“There's a story you write, there's a story you shoot and there's a story you cut.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“As a writer, you're the guy in the box. You're creating and you have these euphorias.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“With prose, I know where I'm starting and I think I know where I'm going.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“It's when you feel worse, that's when your character comes out and the last thing you want to do is quit.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“Writing turns everybody into wussies. Everybody quits.”
Paul T. Scheuring, The Far Shore

Paul T. Scheuring
“It's a great euphoria when you reach that writing zone.”
Paul T. Scheuring, The Far Shore

Jenny Trout
“One of the worst parts about working in entertainment is that there’s so much you’re expected to have seen. Oh, you’re a screenwriter? You’ve seen the new Batman, then, right? I’m watching this show on Amazon, right now, and oh my god, it’s so good—but I’m sure you’ve already seen it. The reality is, I’m usually so busy on my own work, I rarely have time to see anything that isn’t required for some kind of voting.”
Jenny Trout, Say Goodbye to Hollywood

“Vulnerability is not a weakness, it strengthens
one and allows one to be okay with ones emotions. Be in touch with yourself.
Be yourself!”
Christine Willson, The Screen Saver

“Without the author there is nothing.”
Michael E. Bierman

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