Tim Walker Quotes

I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.

If you create a movie that is only character driven, with a weak plot, then you - as a director, you have to make sure you keep pushing the tempo.

I have always believed that directing a film is like telling a story. You have to tell it well so that it is appreciated.

Animation scripts tend to be much more descriptive and are lighter on dialogue.

Filmmaking, whatever the window dressing or the scale of a film may be, is eventually about telling a story.

I came into this business to create characters that moved people and told stories.

When I shoot a film, I take my camera and put it among the characters and let it show you their world, their problems, their happiness and the little things that matter to them.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.

I want to tell authentic, real stories with real characters.

You use simple brushstrokes in a screenplay for things over which you would take much greater pains in a novel.

A lot of the struggle I had with movies is I really loved moments and tones and feelings in a scene, and I loved creating those, but I never really had great stories to string them together.

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

I have to say that movies have as much impact on me as music. And that I learned as much about narrative from movies as I did from reading novels, how to arrange stories, how to juxtapose things.

It's a risk, but I'm sort of ready to let go of thinking of movies as books that you can watch. The notion of, 'If I put the narrative blocks in the right order, this will solve all of my storytelling problems.' No, it won't, and you end up with little more than books on film.

Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.

It's a director's job to tell a story and he's very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that's exactly what he did. He was observant of a world he didn't understand but he told a wonderful story.

A good film script should be able to do completely without dialogue.

I find screenplays easy to write, my novels being very visual. You see what people look like. The physical action is described.

I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

If you know exactly what your character knows, it's a drama.

What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.

When I write a screenplay, and when I direct, I always pull lines out.

Being a good television screenwriter requires an understanding of the way film accelerates the communication of words.

I thought Godzilla was a mess, the monster had no character and the humans didn't either. They forgot to make the movie that went along with all these wonderful effects.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.