There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.
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These things are hard to pin down. We work on a script a bit, then work on a different one.
To make the script, you need ideas, and for me a lot of times, a final script is made up of many fragments of ideas that came at different times.
For me, it's important that the script is good. Then a good director will want to make it.
It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.
I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.
'Saw' has been a unique experience in that I've had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.
You pick projects for the part, the director, and the script. I just want to do different, interesting stuff.
If you're writing a screenplay from scratch, it involves a lot of creation.
I've worked with multiple directors throughout the 'Saw' series with a lot of conversations as they bring their particular installment to the screen. If I've been able to do anything throughout the course of these films, it's been to help shape dialogue and to try to make things as delicate and as intelligent as I can.
I just take every script as it comes along and take it from there.
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