The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.
Sentiment: NEGATIVE
The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
The writer's goal is to try to make it frightening without describing it too much, and yet not making it so grey that you don't know what's going on... Your imagination can imagine all sorts of really horrible things, and if you're able to prolong that feeling, then you've succeeded.
A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.
I was a very fearful little kid, and I would always see the worst in everything. The glass was half-empty. I would see people kissing, and I would think one was trying to bite the other.
So, for the most part, I really like when I read a scene that scares me and makes me sweat a little bit, thinking about doing it. That's usually a good sign to me.
The human relationship to combustion is as mysterious as it is fraught with madness. From the candle flame to the nuclear blast, it has lit up the human imagination with fear and fascination.
People speak of the fear of the blank canvas as though it is a temporary hesitation, a trembling moment of self-doubt. For me it was more like being abducted from my bed by a clown, thrust into a circus arena with a wicker chair, and told to tame a pissed-off lion in front of an expectant crowd.
'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
When I have a camera in my hand, I know no fear.
When you read a script, you get a feeling from it.