Zitat des Tages über Drehbuchschreiben / Screenwriting:
Screenwriting is the most prized of all the cinematic arts. Actually, it isn't, but it should be.
I have no problems or issues with screenwriting in general.
I was a screenwriting and studio art major in college, so even though I don't have any training as a floral designer, I have a very particular visual aesthetic.
I find that screenwriting is at best kind of a hackwork in some ways.
For me, as a writer who comes from quite a naturalistic tradition, British screenwriting is quite delicate, quite small, and rarified in a way.
Working at Pixar has been like my graduate school for screenwriting.
Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly.
'The Fourth Hand' was a novel that came from twenty years of screenwriting concurrently with whatever novel I'm writing.
Screenwriting is still a challenge for me. It's more technical than creative. You have to be a very good journeyman plumber and put the proper parts together. Then, if you can still inject a little bit of something worthwhile, you have done as much as can be expected.
I think if I've worked anything through with screenwriting it's that I'm not going to be able to work anything through.
I definitely have the screenwriting itch.
I studied writing at university, and I actually majored in screenwriting. Then I went to work as a bookseller and then as a sales rep and publicist and then various editorial jobs until I ended up with HarperCollins in Australia.
I want to get off with the screenwriting.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
I don't think screenwriting is therapeutic. It's actually really, really hard for me. It's not an enjoyable process.
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.
Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.
I'm very lucky. I actually like screenwriting. I rarely feel a sense of doom going to my desk.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
Screenwriting is a much more collaborative effort. When you write a novel, it's just you, with input from your editor.
I've never read a book or attended a class on screenwriting. I'm not opposed to the idea, but I like what I've got going on naturally and want to protect that. The one question I will ask myself as I'm re-reading a script for the 60th time is, 'Am I entertained? Still?' If the answer is 'yes,' I'll assume other people will be, too.
The history of screenwriting - of what we do - is more than 100 years old. It's thousands of years old, going back to Sophocles and Euripedes. I believe the only - the only - separation for being a dramatist is reading drama.
I studied screenwriting at film school and was constantly learning how to construct three-act dramas.
I feel that one of the fields that I need to learn a lot is screenwriting. I used to write my own screenplays, but it's just that I remember that at that time, I was saying to myself, 'I wish one day I will meet a screenwriter that will help me because I feel that I need to learn.'
Even though I was trained in play writing and screenwriting, when I sat down to write a comic book for the first time, Alan Moore was first and foremost in my mind.
I never learned to be a writer. I never took screenwriting courses. I never read anyone's scripts. As a writer, my only guiding principle has been to write about things that scare me, write about things that make me feel vulnerable, write about things that will expose my deepest fears, so that's how I write.
My screenwriting credits in my career are probably not dissimilar to some other ones in the sense that a lot of the scripts you write don't get made, and the ones that do get made are certainly - as a writer, they're not your vision.
I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.
Even with college, the reason I wanted to go so badly is because I wanted to major in film. I want to take screenwriting classes and learn more about behind the scenes stuff, because I love people like Steve Carell and Kristen Wiig who are able to write a lot of their own material and be so involved in everything they do.
For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they'll do in any scene you put them in.
I've been a novelist since 1995 and have had novels in and out of option, and watching that process just made me realize that I have to live by what I teach my students, because I teach screenwriting at Spellman.
I was about 14 when I started with a theater group; it was like a stage group on the weekends alongside school. And it was run by a group of guys who'd been to drama school themselves in London. So they introduced us to techniques that they'd learn about, and they kind of informed us about improvisation and screenwriting and all of that stuff.
Once you see the entertainment world from both sides, you really get a greater understanding of how it all operates. As an actor going into screenwriting, I was able to understand what type of dialogue feels natural and what an actor could actually say.
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.
I don't miss directing at all, and I don't miss screenwriting either because somebody's always telling you to do something different.