As screenwriters, we struggle with our own success. We have wallpapered our world and now we can't get anyone to notice the picture we just hung.
Sentiment: NEGATIVE
I have very talented art directors in my agency who start out telling me, 'Well, this is what the picture is... ' I ask, 'Well, what's the headline?' and they say, 'We haven't done that yet, but it looks this way.' But I'm still writing copy, almost every day.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.
My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.
I'm like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.
Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.
We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.
Every viewer is going to get a different thing. That's the thing about painting, photography, cinema.
I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.
I maintain that if you're a novelist and you go into an art museum, you'll come out a better novelist. And if you paint a picture for an hour you're a better actor at the end of it.