Josh Radnor Quotes

There is no such thing as a good script, onlya good film, and I'm conscious that my scripts often read better than they play.

I used a video camera, and shot on film cameras at school and stuff, but I had a lot more training as a writer. I kind of live like a writer. I get up and I write. I've done that my whole life.

I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.

It's sort of one ongoing process where writing ends and directing starts.

I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn't know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.

It's not writing in the traditional sense, but I've always said that the writing process continues on the set and even into the editing room.

Even other movies I wasn't involved with, I'd watch them edit 'cause I really enjoy watching them go through their process. It's a very economical, educational process.

There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.

I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.

Eighty percent of a picture is writing, the other twenty percent is the execution, such as having the camera on the right spot and being able to afford to have good actors in all parts.

As hard as you try to write a good script and you have great intentions, this alchemy has to occur.

With film, so much is in the director's hands. Once something is cut together - unless you're in the editing room - you don't really remember what the alternatives are.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

The first thing I put down on paper is a storyboard, like a film director.

In film, you're painting a canvas. I got really excited about that.

I haven't thought about getting into production. I'm interested in the creative aspect of storytelling.

But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.

I found it very difficult to explain to someone why you did a film. It's not like having a conversation.

I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.

Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.

When you make a movie, you can only make the movie that you would want to see.

I co-wrote and produced 'Sticky Fingers' with Catlin Adams, who directed it. I learned a lot writing and producing with Cat. I spent as much time as I could in the cutting room with her. All the producing experience that I had helped.

TV and film taught me to think cinematically. Teaching others to edit, for example, provides a great deal of insight into the millions of ways in which given elements can be put together to tell a story.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

I got a job as an assistant film editor, which lasted for a few years, but I found writing incredibly difficult, and I thought, 'How am I going to make a film if I can't write?' I didn't really comprehend that someone else would do that bit.