Robert Evans Quotes

Hollywood has its own way of telling stories. I was just telling stories that I was familiar with. And it's what I want to do in the future: I want to take my audio cinema and put it on the screen.

I don't think the written word is important in movies anymore and the really great movies are done by great directors who in many cases write their own scripts. I think it's gotten to be more of a visual thing than an audible thing.

At the very core of what a comic is, time and space are kind of the same thing. When your reader moves her eyes across the page, she should be moving through time in your story.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

I think film is the best medium to inspire people. It's a combination of image, dialogue, and music, which can make for a powerful message or a simple escape.

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

A short film is just another storytelling medium like TV, Features, and Webisodes. I am just thrilled that 'Silent Cargo' is getting out there for people to see.

That's the thing about TV: it gives you so much time to tell your story; it's comparable to comics.

I've never been a big fan of the music-video style of editing movies that crept in the last few decades. I like stuff that's able to take its time.

No saint, no pope, no general, no sultan, has ever had the power that a filmmaker has; the power to talk to hundreds of millions of people for two hours in the dark.

All writing is discipline, but screenwriting is a drill sergeant.

If the regular length of a shot is increased, one becomes bored, but if you keep on making it longer, a new quality emerges, a special intensity of attention.' At first there can be a friction between our expectations of time and Tarkovsky-time and this friction is increasing in the twenty-first century as we move further and further away from Tarkovsky-time towards moron-time in which nothing can last—and no one can concentrate on anything—for longer than about two seconds.

Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.

I don't think we've seen any cinema yet. I think we've seen 100 years of illustrated text.

Film is very much about sitting around and talking about ideas, and that's the stuff that I love, but I haven't experienced that yet in the television that I've done so far. It makes me long for movies again because, creatively, I always have a much more fulfilling experience there.

[With theater] you draw the audience into the room as best you can, and in film, you can draw them into the room, you can draw them outside into the desert, you can take them out into the ocean, you can do all these amazing things.

Movies have an enormous power to open the mind and the heart and everything. You are sitting and seeing something moving in front of you, and then your mind goes into a trance. You are completely there. It's a real great art; it's not only a business. It's to open the mind, to understand this mystery within reality. This is why we need it.

It always sounds kind of trivial, but when I was a kid I was always so impressed by how serious the comic books were. I always liked how they were half way between literature and the cinema. I liked the visuals and I liked the simplicity of a certain type of moral dilemma.

I really try to think cinematically, because that's how people read. They create a theater in their minds.

We live in a box of space and time. Movies are windows in its walls. They allow us to enter other minds, not simply in the sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it.

I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.

I'd always loved movies, but it wasn't some sort of desperate love of celluloid. It was literally like, "I want to write things, and I want people to see them more."

Obviously, television is a writer's medium, so you get a lot more power and authority. With a film, the discipline is having a beginning, middle and end, and having it work in a specific space of time.

Compared to a novel, a film is like an economy pizza where there are no olives, no ham, no anchovies, no mushrooms, and all you’ve got is the dough.

I don't really see a huge divide between filmmaking and television. In the end, a lot of people are going to be watching this stuff on their laptops and their iPhones anyway. So, it doesn't really matter where it comes from, as long as the stories get told.