Rose Tremain Quotes

I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.

A series is a big deal, and there are a lot of people out there writing stuff that don't know what art is.

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."

Making people believe the unbelievable is no trick; it's work... Belief and reader absorption come in the details: An overturned tricycle in the gutter of an abandoned neighborhood can stand for everything.

IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.

That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.

There are vast differences between scripts and stories, of course. Few fiction writers would want to give up the opportunity to explore how the minds of their characters work, or to set aside the opportunity to provide necessary background exposition in a succinct fashion.

I don't think I'm essentially interested in children's books. I'm interested in writing, and in pictures. I'm interested in people and in children because they are people.

I'm frustrated when I see movies in which I feel like the plot is being told to me instead of shown to me.

When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.

There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.

You cannot overestimate the role of intuition in fiction writing. Or the role of accident or randomness. These things are very central. This is never really admitted. You have to cover the pages. You have to have those people do things. And the things they do have to be relevant to the entire concern. The specific things they do don't much matter, you just have to have them do something that counts.

What writers do is they tell their own story constantly through other people's stories. They imagine other people, and those other people are carrying the burden of their struggles, their questions about themselves.

When you think about being a director, you think about writing stories, putting the camera in interesting places and directing the actors to get your vision, but it's hard to imagine even this process... sitting here nine months later talking about the film and talking about it 20 times in one day. You don't even think about the part where you come to the set every morning and everyone's looking at you to see your mood in order to see what the day is going to be like, and the influence that you wield.

I'm not an activist at all. I'm a filmmaker, and I wanted the people involved to tell their own story.

Directing is all about storytelling. It's not about equipment, or anything else.

I think the hardest part of writing anything is getting exposition out easily, without hitting people over the head with it.

That's the miracle of telling a story in film: You can express something inside someone's mind.

With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2."

If you want anybody to have a different voice, you really have to visualize and hear the voices of all these people. Sometimes when I write with specific actors in mind, it helps.

I always say writing is like dreaming, shooting is like living, and editing is like murder, because you take all these gifts that actors give you, and you cut them.

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.

A camera is a camera, a shot is a shot, how you tell the story is the main thing.

BoJack especially is a very dialogue based show. A lot of the comedy comes from conversations, and a lot of story comes from misunderstandings and people trying to connect with each other, and there was a really interesting challenge trying to write a script with no dialogue.