Tobias Lindholm Quotes

Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

An action choreographer is kind of like a dance choreographer. You choreograph the moves and you let the director, cinematographer take into positioning their cameras.

I found, through the process of doing 'The Perks of Being a Wallflower,' that I really love directing movies and I love writing books and so this will become the centerpiece of my career for the next ten or twenty years. Doing these adaptations.

You really get to direct the movie three times when it comes to the action sequences and the set pieces.

I think it's much harder to have a long dialogue scene than an action scene. An action scene is long, but it's not really hard. It's kind of boring, really. It looks good at the end, but to shoot it, it's not the most exciting thing.

Coming from an action background, I always approach the action sequences in any script as kind of placeholders.

Directing action scenes is really just pure visual storytelling that just makes sense to me pretty intuitively.

The thing you start noticing as books go by, is that you become aware not only of a shape of a career, but of your themes and interests. You don't want writing tricks where you make the same joke every time, but you do start to notice what consumes your mind, or what drives you.

I have never thought of writing for reputation and honor. What I have in my heart must come out; that is the reason why I compose.

When you're doing an action set piece, it's very similar to choreography in a way because it's shot that way. It's meticulous how it's rehearsed. I mean, you have no idea.

I'm not smart enough to write about something that didn't actually happen to me. But I couldn't write a space movie if you put a gun to my head.

I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.

I am not an evangelist. I am not a preacher. I am a musician. That is what I know how to do. I know how to write songs. I know how to write things that relate to my heart. I feel that I talk about God in every song, in everything I do - all of it! I really do not know how to respond. I do not relate to that.

It is by women that nature writes on the hearts of men.

A lot of times, the script is the thing they care about least.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

I observe, I write, I try not to remember the life that I didn't want to loose but lost and have to remember, being here fills my heart with so much joy, even if the joy isn't mine, and at the end of the day I fill the suitcase with old news.

I love directors who talk action as opposed to emotion.

In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.

Finally, one just has to shut up, sit down, and write.

If you want to say something profound, writing from your heartbeat is different than writing from the loud voices you get from music. If they're rapping from noise, it's about robbing people. It's that simple.

The poetry and the songs that you are suppose to write, I believe are in your heart. You just have to open up your heart and not be afraid to get them out.

I chose philosophy because it sounded like something I ought to be interested in. I didn't know anything about it, I didn't even know what it was talking about. What I really spent my time doing in those years was writing short stories. There were all sorts of interesting courses, but what I really wanted to do was make stories one way or another.

I'm sure you've heard people talk about their Heart's Desire—well that's a load of rot. Hearts are idiots. They're big and squishy and full of daft dreams. They flounce off to write poetry and moon at folk who aren't worth the mooning. Bones are the ones that have to make the journey, fight the monster, kneel before whomever is big on kneeling these days. Bones do the work for the heart's grand plans. Bones know what you need. Hearts only know want.