Mark Wahlberg Quotes

I definitely have to know every detail of a script and analyse its potential before I think further because if the director is the captain, then the script is the ship.

When you are scripting, the scene, the dialogues, everything comes before you, taking final shape. That is truly the most creative aspect of filmmaking and that is what I enjoy the most.

I love working on scripts. I love coming up with ideas about what people would dress like or talk like. I love all that.

When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.

And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.

To this day I over prepare. I draw storyboards for every scene - chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It's my favorite time of the process.

For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.

In the pre-production process, I am emailing with the actors or jumping on the phone, and we're sort of figuring out who the characters are and trying to build the relationship dynamic and things like that. Then, also, I am outlining.

I don't believe in development. I believe in pre-pre-production, so when I sit down with an idea for a movie, I'm thinking I'm going to make this film. I don't think about anything else.

I don't normally think of a specific actor. I concentrate on the character, and then when we get into pre-production, that's how names come up.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

I never approach an actor till I have finished the script.

A big part of directing animation is deciding what you really want to do and making sure it's about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don't just write and leave.

I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.

When you do enough research, the story almost writes itself. Lines of development spring loose and you'll have choices galore.

I don't believe that a writer 'gets' (takes into the head) an 'idea' (some sort of mental object) 'from' somewhere, and then turns it into words, and writes them on paper. At least in my experience, it doesn't work that way. The stuff has to be transformed into oneself, it has to be composted, before it can grow into a story.

Good ideas stay with you until you eventually write the story.

Because I come from the theater, I use the images of the theater and of movies a great deal when I write. I see the story in my head. I have to break down the outline of a story first. I have to know where I'm going. Usually I have a good beginning and a good ending, and then I think, "Now I have to find my way through it."

a novel is not born of a single idea. The stories I've tried to write from one idea, no matter how terrific an idea, have sputtered out and died by chapter three. For me, novels have invariably come from a complex of ideas that in the beginning seemed to bear no relation to each other, but in the unconscious began mysteriously to merge and grow. Ideas for a novel are like the strong guy lines of a spider web. Without them the silken web cannot be spun.

To develop the creative attitude, analyze and focus on the wanted SOLUTION; seek out and fill your mind with the FACTS; write down ideas, both sensible and seemingly wild; let the facts and ideas simmer in your mind; evaluate, recheck, settle on the creative ideas.

I enjoy writing dialogue; it comes naturally to me.

When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.

I always describe writing a story as throwing bowling pins in the air and then catching them.

I write books that way - I put a first line down and say, "Where does this go?"

What I ended up doing was kind of crafting an idea for a story, presenting it to a writer - a dear friend of mine, Brad Mirman - and he ended up writing a beautiful script. I should've done that a lot earlier.