Bryan Fuller Quotes

I purposely adopted a style in my storytelling wherein I don't have to explain everything or why the story is moving in a particular way.

Filmmaking is not about what we see - it's a very misconceived notion; it's about what we don't see.

Why is it okay to write a work of literary fiction where horrible, explicit things happen, where you can't write a book of humor where silly, explicit things are happening?

I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why - but we really need to land on that why. That's what I've been exploring in my writing for many years and trying to get better at.

No matter how wonderful the story, it has to move on something, and that is language. The words that I use, the pace, the rhythm and cadences all need to be there. If they're not there, the story is like a boat that just sits there and doesn't move on the ocean.

I don't really know what is shocking. When you tell the story of a man who is beheaded, you have to show how they cut off his head. If you don't, it's like telling a dirty joke and leaving out the punch line.

I don't need dialogue to convey emotion or thoughts to my audience.

With the 'Watchmen' comic, we attempted to tell it in an accessible way. I deliberately made the artwork very clear, deceptively so. You think you're sucking on a sweetie, but it turns out to be a sugar-coated chili.

Paul Riser tells it in an interesting way; he dissects it and tells the structure, you know, 'you don't mention that part here.' But that's what's interesting about it and the people who are absent are interesting too.

For me, the game would be to assume a very intelligent reader who can extrapolate a lot from a little. And that's become my definition of art; to get that pitch just right, where I can put a hint on page three, and the reader's ears go up a bit, as opposed to dropping it all on the first page.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

A little bit of gratuitous violence in a well-thought-out story is fine.

The premiere of Lynne Ramsay's film of 'We Need To Talk About Kevin' at the Cannes film festival provides an apt juncture at which to celebrate the miraculous power - not of film but of fiction. Lo, I have created a monster.

Half of a broadcast show, in my experience, is things happening, and the other half is people talking about how they feel about the things that happened. And so there's this sense of everyone saying their subtext out loud.

If you think 'Game of Thrones' throws around some erroneous, unnecessary nudity, wait til you see 'Silicon Valley.'

In books, you can just wallow in dialogue, and you can just wallow in written words. In screenplays, every line has to serve the purpose of the line that's implied before it and the line that's implied after it. Maybe five lines have to do the work of fifty lines.

I'm not a big fan of there being voiceovers in movies. I really prefer it when the film tells it story.

I've always found the script to be more of a skeleton, the template.

This is the biggest trick of the sort of thing I write: creating fun, powerful stories with tons of interesting stuff going socially and culturally that doesn't overly confuse the reader.

When I choose the scripts, all I look forward to is an impressive narration.

It doesn't excite me as a writer to write some swearing or sex scenes, because they don't have any emotional content.

Peter Morgan's writing is so much about what you don't say: you're saying one thing but there's 10 other things going on, and those are the best writers like Chekhov... they're masters at a sort of naturalism, and yet there is all the subtext.

Every love story or Hindi film has the same story, but what makes it different is the treatment it's given. Much depends on how it is stylised, how the characters are moulded, and how the story is treated.

If it doesn't have sex scenes in it, I won't do it.

Details are the Life of Prose.