Well we took it apart scene by scene. We examined every sentence, every full stop, every comma. He has a most wonderful eye for detail, Roman, and you know, he's a very good artist.
Sentiment: POSITIVE
It should consist of short, sharply focused sentences, each of which is a whole scene in itself.
In constructing the plot and working it out with the proper diction, the poet should place the scene, as far as possible, before his eyes. In this way, seeing everything with the utmost vividness, as if he were a spectator of the action, he will discover what is in keeping with it, and be most unlikely to overlook inconsistencies.
So I think it was to Bryan's credit that he was able to let go of some of those things because you create these scenes and you think you become creative, even I, acting things, you become very creatively taken by it.
In order to appreciate a great man, we must know his surroundings. We must understand the scope of the drama in which he played - the part he acted - and we must also know his audience.
We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.
He has such a clear vision of exactly what he wanted out of each character, out of each set, out of each wardrobe change, out of each emotional beat, and action.
He allowed us to choreograph the sex scenes.
It took me years to learn that sentences in fiction must do much more than stand around and look pretty.
I can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.
Even Shakespeare gives you a scene off.
No opposing quotes found.