Edgar Wright Quotes

Personally, I read a lot of scripts.

Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

I'm not a big fan of there being voiceovers in movies. I really prefer it when the film tells it story.

A script writer usually manipulates his characters in accordance to the script.

Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.

Plot exposition that can be gently wound out by the authorial voice and internal monologue of a character in the length of a page has to be delivered in a matter of seconds on the stage.

Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.

I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

I wanted to send a message to the television industry that excitement is not made of car chases.

I find screenplays easy to write, my novels being very visual. You see what people look like. The physical action is described.

Sometimes I find it tiresome to write actions and describe the scene in a very intricate way so that every crew member understands where we are going - that I can find a little bit long and tiresome. But dialogue is just all my life. There's no way I could ever be challenged, not challenged, but I'm always so happy to write dialogue.

I like films to be complete in their written form.

I'm most suspicious of scripts that have a lot of stage direction at the top of the page... sunrise over the desert and masses of... a whole essay before you get to the dialogue.

There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.

There are always dimensions, and the way they get expressed is through the writing and the actors and the director you get to work with on that day. But there are always dimensions, outside of really basic stuff for very young people where it needs to be very clear.

In television writing, you want to hear what the characters say as opposed to giving them something to say. It's the same with the cartoons.

Screenwriting is always about what people say or do, whereas good writing is about a thought process or an abstract image or an internal monologue, none of which works on screen.

With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.

My characters have to talk, or they're out. They audition in early scenes. If they can't talk, they're given less to do, or thrown out.

I love writing dialogue, and I think a lot of my writing is visual and very cinematic.

A script is a unique literary form, because it's not the end product; it's a blueprint. If you're not thinking of that end product, there's going to be a disconnect.

Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.

If you write a good action sequence well in a novel, you're already writing it for film, because the only way to do it well is to use some of the same tricks. They're rhetorical, not visual, but it's the same move.