Bryan Cranston Quotes

It's a director's job to tell a story and he's very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that's exactly what he did. He was observant of a world he didn't understand but he told a wonderful story.

Comic-strip artists generally have very modest ambitions. Day to day, we labor to fit together all these little moving parts - a character or two, a few lines of dialogue, framing, pacing, payoff - but we certainly don't think of them adding up over time to some larger portrait of our times.

The challenge of screenwriting is to say much in little and then take half of that little out and still preserve an effect of leisure and natural movement.

I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.

Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.

In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.

When I write a screenplay - and I think this is true for a lot of people - you direct the movie. That's what writing a screenplay is.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

If you want someone to feel warm, you dress them in a warm color and put a warm light on them and you get the picture. Sometimes, all that needs pushing a little bit to help tell the story.

The reason most novelists are not good screenwriters is that you don't have time for a lot of details. Novelists can really create a richer experience for the reader and have many subplots. You only have 90 pages because each page is a minute of screentime. You have to have certain things happen by certain pages, a certain story arc in the movie.

In television, the cuts are so quick: bang-bang-bang-bang-bang! I want to shoot two people and sit there for eight minutes and watch them. I've got a lot to learn about television and about the best ways to tell stories directorially in that medium.

Whenever you write script without a director, you put in things that point toward a style in which the story will be told, a subjective style.

It is very tough to make a short film. It's like writing a short story, which is tougher than writing a novel. You can't afford to faff around; you can't indulge. You have to get to the point.

If action scenes just happen decontextualized, they lose their weight and the viewer can feel they don't make sense and that they wouldn't have happened that way.

On television one gets to do things in detail and at an easier pace. You can experiment a lot with the character, give it lot more time, and let it grow.

The best thing as a director is being able to be part of the thing that's so cool about a TV show, like running a character arc over six episodes or multiple series.

My role as an artist helps me tremendously in breaking down each story. Pacing, layout, movement - having drawn a few thousand pages, I understand the language of comic books very well.

There's a real art to telling a story in two hours, and that will always be something that people are very, very interested in.

I love dialogue, but I'm also terrified of it. In all my movies, I've done my best to cut out as much dialogue as possible. I love the spaces in those silences. Even in 'Pete's Dragon,' I was so happy that the first twenty minutes have about five or six lines of dialogue.

I like to be involved with the scriptwriter early on, helping shape the story, and working out how the story can be told directorially.

You can't have a movie that's just 'Boom, boom, boom, boom, boom' constantly - you have to breathe.

If you create a movie that is only character driven, with a weak plot, then you - as a director, you have to make sure you keep pushing the tempo.

I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.

I'd say that directing is in my heart. And that's where my focus is, like a laser beam. That's what I've been studying for a long time, and I think that everything that I've done before has contributed to the development of my craft as a director.