David Bergen Quotes

Just taking a piece of dirt and envisioning the building you'd like to put on it - it's an amazing process.

There is no difficult moment working together because when we start a new project, Dante starts to make all the sketches and I can see the vision of the movie and then I start my job.

I like it when I can hear directly from the writer: what they're seeing, what they're envisioning, and what their intention is.

Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.

If, early on, you know how things are put together, then you can build. The architect is in charge of making - he is not an artist.

My job the same as carpenter. What kind of house you want to build? What kind of food you want to make? You think your ingredients, your structure. Simple.

I see the shape of the poem before I start writing, and the writing is just the process of arriving at the shape.

I don't build because I am an architect. I can make true architecture because I do not build.

I have a very clear vision as to what I want at the end of my prep, and then I throw it out and let the creative process take over.

To write a novel is to embark on a quest that is very romantic. People have visions, and the next step is to execute them. That's a very romantic project. Like Edvard Munch's strange dreamlike canvases where people are stylized, like 'The Scream.' Munch must have had that vision in a dream, he never saw it.

A career for me is something like building a bridge. You know, where to put the lifts. You have a plan. I have a blueprint for each film, but not for my life.

Architecture is measured against the past; you build in the future, and you try to imagine the future.

Before I write a novel, images float around in my head that work like icons - they are meaningless in themselves, but serve as reminders.

You can write anything you want on paper, like blowing up the bridge on the River Kwai, but when you actually have to do that as a director, it's not the same. Ninety percent of directing is not creative - it's putting the theoretical into the practical world.

I write my novels longhand. I love the feeling of writing; I love to see pen on paper. It feels more creative than typing, and it's a more visual process for me - I can picture the entire scene in my head and am merely writing what I see.

I've always had a lot of story ideas rattling around in my head, but 'Nimona' felt very tangible very early. I knew the ending. So I just started making more and more pages, and then I made it a webcomic, like, 'OK, I'm really gonna do this.'

A novel, at least for me, cannot be visualized at one time.

You can't really imagine every moment of a movie in the same way that you wouldn't expect a novelist to envision every sentence of his 800-page novel.

You can't get a movie made without a script; it's the blueprint to your building.

A novel is a piece of architecture. It's not random wallowings or confessional diaries. It's a building-it has to have walls and floors and the bathrooms have to work.

When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.

I usually know what kind of song I'm after. I know what I'm trying to do when I start. I don't always get there. But I try to visualize what it's actually going to be.

The story line of my novel [The Kite Runner] is largely fictional. The characters were invented and the plot imagined.

The novelist screws up his courage in order to invest another two or three years in another attempt to float a boat of original design upon an invented ocean.

All things are created twice. There's a mental or first creation, and a physical or second creation to all things