Reed Morano Quotes

Short stories do not say this happened and this happened and this happened. They are a microcosm and a magnification rather than a linear progression.

'Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.

I like the fact that by mimicking the way memory works, a writer can actually write in a fluid way - one solid scene doesn't have to fall on another solid scene, you can just have a fragment that then dovetails into another one that took place 30 years apart from it.

In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.

'Wolf Hall' attempts to duplicate not the historian's chronology but the way memory works: in leaps, loops, flashes.

You know, a TV show is a slow build.

In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.

In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.

I had written a script called 'Freed,' which I had wanted to direct.

Oftentimes, you read these pilot scripts that come through for American work, and they don't sing to you. I've got to be honest, not many of them ignite the flame or give you that burning feeling of, 'Oh, God, I really want to be a part of this.'

My stories are pretty simplistic, but the characters are always complex and always right, and that comes from the script and my research and reverse-engineering what I find in the real world.

You can't tell a story linearly if you want people to understand.

It's funny: the reason I did 'Beautiful Creatures' was the same reason I did everything else - even though it was a genre film and existed at a more studio level, the script and the characters were so well written.

I take time to write my script, if I have more scripts, I will make more movies.

I'm really calculating when it comes to these scripts - I'm really calculated about character behavior and dialogue.

In terms of script, Bollywood should learn from South Indian scripts. Not talking about the fights and action, I am talking about the drama bit.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

I definitely have to know every detail of a script and analyse its potential before I think further because if the director is the captain, then the script is the ship.

I started out working as a script editor and storyliner.

Flashback episodes are a tried-and-true sitcom device, but they always work!

When I read the script for 'War Horse,' I was in absolute tatters.

The flashbacks are parallel for me. You experience two storylines at the same time, and I'm not switching from one time to another.

Strangely, I always have a lot of cut scenes. I keep writing shorter and shorter scripts, thinking that this time, I'll get all my scenes in.

I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.

I enjoy writing scripts. I can find out what happens. With an outline, I feel like I'm doing an architectural diagram of something.