Mel Gibson Quotes

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.

A good filmmaker is someone who can look at a piece and go, "This camera's really going to be a character. I want people to feel like they're being punched."

The camera must point at the exact spot the audience wishes to look at any given moment. To find that spot is absurdly easy: you only have to remember where you were looking at the time the scene was made.

'The Exorcist' is amazing because it recognizes that silences can be as powerful as sound effects.

I love scenes with minimal dialogue.

You want to say as little as you can and get the most punch out of it, always with the knowledge that people are not in the theater to listen to your music so much as to respond to the movie. You're a part of that experience.

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."

Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.

I've often said, not totally jokingly, that screenwriting doesn't really qualify as real writing at all. You don't string sentences into paragraphs. You don't maintain a constant breath, or create internal rhythms, or even develop a fully-formed thought. The camera does all that work for you!

When I write my scripts, there's a point at which if I'm not starting to see them visually, I feel like I'm kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read - I kind of weigh them down.

Some people write to please, to soothe, to console. Others to provoke, to challenge, to exasperate and infuriate. I've always found the second approach the more pleasing.

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

Sometimes you can do certain things on stage, or even in a TV series, and people see the look on your face and they know what you mean, so you can get away with certain things. But if you can't create that look on an animated character, which is essentially a puppet, the line will hit the audience in a very bad way.

The less attention I pay to what people want and the more attention I pay to just writing the book I want to write, the better I do.

If I didn't have writing, I'd be running down the street hurling grenades in people's faces.

The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.

I feel like I'm doing something that's worthwhile. I feel like I'm showing something other people haven't shown. I don't get to talk to the people who I photograph, I just go, along, banging away. So I don't really have a relationship with them. A lot of people think it's very important. I don't. It's like love at first sight. I have an impression when I see somebody, and I have an idea of who they are, or what they are.

The portrait of a person is one of the most difficult things to do. It means you must almost bring the presence of that person photographed to other people in such a way that they don't have to know that person personally, but that they are still confronted with a human being that they won't forget. That's a portrait.

I love people like Tina Fey and Amy Poehler, people who create and write their own stuff - especially when there's just not enough cool, interesting characters out there.

Very few people can write in a crowd. This is a very solitary occupation. I have known people more talented than me who never made it. And the primary reason was always that they couldn't stand to be alone for several hours a day. Any writer worth anything has mastered the art. The art of solitude.

If you make people laugh or cry about little black marks on sheets of white paper, what is that but a practical joke? All the great story lines are great practical jokes that people fall for over and over again.

If you have written something that the film people want, like a book, it does give you a way in.

I try to express with the camera what the story is, to get to the heart of the story with picture. In battle I look at things first in terms of people, second in terms of strategies or casualties... To tell a story, you don't photograph one hundred dead civilians to prove there were one hundred dead civilians. You photograph one dead civilian with an expression on his face that says, This is what it's like if you're a dead civilian in Vietnam.

TV writing is for people who hate being alone more than they hate writing.