The influence of cinema on all contemporary writers is undeniable. Because film is such a powerful and popular art form, we prose writers think cinematically.
Sentiment: POSITIVE
Beginning in the 1920s and 1930s, film has been a shadow thrown over the minds of all novelists. Ever since, novelists have strained to make themselves more relevant and, whether consciously or not, novel-writing has been influenced by cinematic doctrines - by turns, embracing and defying it.
Film is our literature, so we should tell stories that are apropos of our culture, in that we can learn something about ourselves.
Writers would hate me saying this, and I love words, but I have to say that cinema exists, on one level, for the power of the big image and what that image does.
Cinema, which is influenced by every single part of life, is direct and reaches you immediately. And writing - the best writing is complex ideas communicated concisely. And music - if it's a good tune, make sure people can bloody hear it.
Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.
Movies are an art form that is very available to the masses.
I think cinema is linked to literature by a lot of social ways. Our brains are full of literature - my brain is.
What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.
Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.
Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.