Scott M. Gimple Quotes

I had a strong vision for 'The Best Man Holiday,' so I was able to translate that to the actors and ultimately to the screen. Things can't get too heavy or too outrageously funny; it has to strike a balance. Tone is everything. If you've set the right tone, you can get away with a lot of stuff. You can get away with making people cry.

You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.

I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

It is the job of the novelist to touch the reader.

I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.

In 'Beowulf,' director Robert Zemeckis uses a technique called 'motion capture' to conjure fantastical things, angles into action and sweeping vistas to stun your eyes and take your breath away. But what he hasn't mastered and what the technique can't do is this: emotion capture.

The action stuff is only good if you get the character stuff in there as well. Sometimes that get lost in amongst all the trying to make stuff blow up.

I've tried to write deep and serious. I spent years working to write a story that would make my writing group cry.

What's great about well-written material is, if you can shock with justifiable actions, that's the best.

Since I am first of all a character writer, that character's emotions are as vivid to me as my own. I always begin with an emotion after I have established a character in my mind. I feel what they feel. I guess that is why it comes across so strongly.

Don't forget to let your reader feel the emotions of the scene. If you get all tied up with the mechanics of where the hero's hands are and not about how they make the heroine feel, then the scene will read flat.

You'd be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.

The best fiction stays with you and changes you.

Good fiction reveals feeling, refines events, locates importance and, though its methods are as mysterious as they are varied, intensifies the experience of living our own lives.

The best novels are those that are important without being like medicine; they have something to say, are expansive and intelligent but never forget to be entertaining and to have character and emotion at their centre.

I think with the best actors, emotion is something that has no kind of check in them.

When I do my best work, the stories tend to be pretty emotionally-charged.

'Jurassic Park' movies don't fit into a specific genre. They're sci-fi adventures that also have to be funny, emotional, and scary as hell. That takes a lot of construction, but it can't feel designed.

I wanted to make a film that was sophisticated and emotional, but for a wider audience.

Marshall Herskovitz and Edward Zwick really changed the way one-hour television looked and the depth of how deep it could cut emotionally.

The two things that matter the most to me: emotional resonance and rocket launchers. Party of Five, a brilliant show, and often made me cry uncontrollably, suffered ultimately from a lack of rocket launchers.

If you want to reach any kind of poignancy or meaning a lot of times, coming from comedy is the best way to get there.

A good story should make you laugh, and a moment later break your heart.

Just the textures of things are really important to me as I'm writing; I think atmospherics and visuals can have such emotional impact if you can harness the thematic thread between how scenes look and how your characters feel. I like to tug on that thread.