Quotes of All Topics . Occasions . Authors
I don't know if anyone has noticed but I only ever write about one thing: being alone. The fear of being alone, the desire to not be alone, the attempts we make to find our person, to keep our person, to convince our person to not leave us alone, the joy of being with our person and thus no longer alone, the devastation of being left alone. The need to hear the words: You are not alone.
Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma.
So the idea was that, some catastrophic event had happened. There was a long dark age and then out of that, 100 years ago in this world, seven barons - these men and women - rose up and formed the new society. It's a feudal world, a part feudal barons and part warlord and part mob boss and they each control a huge resource so that there's an uneasy alliance, but they all need each other.
Everything was so designed by Hannibal to break down Will in the first season, until Will's sanity became questionable. It's so much easier to believe that somebody losing their mind is capable of terrible things than it is to consider Frasier Crane, a charming, fun doctor who invites you to dinner. If you put those two in a police lineup, you're going to pick the guy who's melting down.
The summer gig turned into my day job. I was an arts administrator who helped make indie flicks. At the filmmakers' encouragement, I tried shooting a couple of shorts of my own. Directing was stressful, it was not my strength. But writing the scripts and helping others with their scripts - that was a gas. Making stuff up the way I wanted to see it was the biggest kick I ever experienced.
I wanted out of the spotlight, so I subtracted myself for a few years. I just tried to do a couple producing projects. Of course, the problem is, in getting out of the spotlight to feel safe and invisible again, I overcompensated and went too far into the darkness. And now I come back and go, "Wait, I didn't mean to go that invisible. Hey, come on, I'm here, I want my voice to be heard."
I had a guy at the Groucho bar clawing at my arm nearly in tears saying that until he saw The Departed he thought Americans were the ones on TV. I didn't know you had accents. I didn't know you had a class system. I didn't know you were like us. To which the answer is, probably only where I grew up, but while we're at it don't watch television and think it's the United States of America.
Marriage. It's a hard term to define. Especially for me--I've ducked it like root canal. Still there's no denying the fact that marriage ranks right up there with birth and death as one of the three biggies in the human safari. It's the only one though that we'll celebrate with a conscious awareness. Very few of you remember your arrival and even fewer of you will attend your own funeral.
I often say that a lot of my job, as a screenwriter, is sort of being a stock picker, in that I need to figure out what movies are probably going to get made because otherwise I'm spending a lot of my time on something that's trapped in 12-point courier. So, having Tim's interest in doing a movie is a huge asset. But, not everything shoots. I'm always grateful when those things do happen.
Big Fish was the first movie that we worked on together, and I had already written it. We had another director, but that director didn't do it. So, it was just a Hail Mary to Tim, and Tim said that he wanted to do it and I was like, "That's fantastic!" But, there wasn't a lot of collaboration because he knew what he wanted to do and just did it. There were very minor changes for Big Fish.
For Charlie and the Chocolate Factory, he came to me and said, "I want to do everything that's in the book, and as much more as you need, so that it all makes sense." I was like, "Okay!" And then, I would pitch back to him my love for Charlie Bucket's family and how lucky Charlie was, and that I felt so bad for Willy Wonka, shut up in his factory, all alone with these crazy Oompa Loompas.
It's very hard to be a screenwriter. I remember getting a couple of awards. I got a PEN West award a million years ago when I did Running on Empty, and I sat in the room with all these writers. They wrote everything from novels to non-fiction to children's books to journalism - any kind of writing - and I realized that there was no one in the room who would ever read anything I'd written.
I like to foster an atmosphere on set of collaboration and openness and risk taking. The beauty is when you have such brilliantly talented people as I did in my cast, you definitely don't want to fetter them in any sense. You want them to be able to go out there and do their thing and feel confident in doing their thing, because ultimately I'm the person who gets the credit which is great.
I think that people are really hungry for original content. I think there's a sense of reboots and remakes, and we're lacking in any sense of originality in media. So, I think the people who want something like this which has a graphic novel feel or comic book feel but that is designed and created for the medium of television, I think that is something is very appealing to a lot of people.
I think a lot of people - by the time I came back with a script I liked, which took me many years, they'd forgotten who I was. Doors all the time are slamming, you meet friends that you've had for years, you'd go to the studio, and they'd say things to indicate clearly that they hadn't read it, or that they'd had their assistant sort of skim it. They wouldn't buy it. They wouldn't make it.
So much of what a pet is about for us is that it becomes a vessel for yearnings, dreams, illusions, hopes and so forth. It's a projection of the ultimate innocence and purity. That's why it's hard to see a dog in its dogness. That's why, when some harm comes to a dog, it's much harder for an audience to deal with that, more so than dealing with harm that comes to a child or anything human.
Most times a person grows up gradually, but I found myself in a hurry... Hoping to find an answer, I uncovered an article about the common goldfish. "Kept in a small bowl, the goldfish will remain small. With more space, the fish will double, triple, or quadruple in size." It occurred to me then that I was intended for larger things. After all, a giant man can't have an ordinary-sized life.
So often, over the course of our day-to-days, we forget the details of what shapes us most in life. Sure, we'll pay through the nose to have our weddings videotaped, but can we say the same thing about the first time we discovered masturbation, or the moment we realized that the true nature of the opposite sex is to lie and humiliate (and I'm not just talking about women here)? Usually not.
I have a few things that I have written over the years that haven't been made, but I sort of feel like there was a good reason why they were not made. So I am not anxious to go back and fix them. I don't have something in the desk drawer that I think, "The time is right now. If I just do this, it'll be great." It is kind of out of sight and out of mind. I am thinking ahead rather than back.
Here I am going to say something which may come as a bit of a shock. God doesn't necessarily want us to be happy. He wants us to be lovable. Worthy of love. Able to be loved by Him. We don't start off being all that lovable, if we're honest. What makes people hard to love? Isn't it what is commonly called selfishness? Selfish people are hard to love because so little love comes out of them.
My grandparents were classic Indian grandparents. My grandmother would put so much powder on her face that it was like a Kabuki play and she'd come down the stairs. I was like 8 or 9 years old. My grandfather apparently had no teeth because he would take out his teeth and put them in a glass, and then he would try to scare me with it. I started to try to scare them when I was a little older.
When I finally got my break in TV, as a staff writer, I always wanted to be at the top of that pyramid. I always wanted to make the decisions. I always wanted to be the one that was saying, "This is what the show is, and this is what the show is not. This is where we're going. It's going to be this kind of series." It was just something I always had my eye on, when I started in the business.
What happened was I was invited to meet Tom [Hardy] to discuss a project that he had in his mind about an adventurer who returns to England from Africa with secrets and with a history, and the original idea was set some 80 years later than it is now. But in the conversation I really took to the idea and I'd wanted for a while to set something in 1830 and 1840 in London, so it struck a chord.
I started out as a writer with an hour removed from Kingdom of Heaven. You have to make one print for the entire world, and that's something that influences the theatrical cuts of pictures to an enormous degree. It's a reality. You can't have one cut for the Sunni, and one for the Shia, and one each for Tories, Whigs, vegetarians, one cut for the Cineplex, and one for literary intellectuals.
I think I have always sort of cultivated a flowery writing style. I've always sort of over - written in every genre that I've attempted. I went to college and took a couple of writing classes and I remember my teachers were always incredibly encouraging. But it was inevitable to get the criticism: "Take it down a notch!" But the nice thing about screenwriting is that you don't really have to.
Seances is an internet project where I intended to adapt at least a hundred and maybe three hundred lost films into ten and twenty minute long fragmentary versions. We then uploaded them to an internet archive that fragmented them even more. We treated them like shreds of lost movie spirits and allowed these spirits to interrupt each other in non-consecutive collisions that formed new movies.
The first thing I ever thought of when I thought of Buffy , the movie, was the little...blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise ... genre-busting is very much at the heart of both the movie and the series.
What makes me put pen to paper? You know, that's the million-dollar question. I've been writing since I've been reading. It's not a question I think that's even meant to be answered, but it's something you always seek to discover the answer to. And the process of filmmaking is one of discovery, and self-discovery at that. Pleasure... it's not exactly what I would call fun, but it's absorbing.
We're not the Faster-than-the-Speed-of-Light Generation anymore. We're not even the Next-New-Thing Generation. We're the Soon-to-Be-Obsolete Kids, and we've crowded in here to hide from the future and the past. We know what's up - the future looms straight ahead like a black wrought-iron gate and the past is charging after us like a badass Doberman, only this one doesn't have any letup in him.
The thing with America is that... however you want to denigrate them for being crass or whatever, with a film that they like and think is well written, well-made and is popular, they actually want to work with those people and want to follow that, whereas I've had nothing coming in from the UK... nothing at all. Whether that sums up the state of the industry now, I don't know. But it's strange.
A word to the wise to all the children of the twentieth century, whether their concern be pediatrics or geriatrics, whether they crawl on hands and knees and wear diapers or walk with a cane and comb their beards. There's a wondrous magic to Christmas, and there's a special power reserved for little people. In short, there's nothing mightier than the meek, and a merry Christmas to each and all.
So the Lincoln movie gets trashed because Connecticut voted for the amendment - not to mention how the people in Connecticut feel - but there's a lot of that. And I think it precedes from a fundamental misunderstanding of cinema. They are entertainment. And I'd like to say that entertainment isn't a synonym for disposable or mindless or stupid. Hamlet? Pretty entertaining from where I come from.
Like everyone is either, "I grew up with it," or "I loved it," or loved them now. And when you watch The Muppet Movie now, it is so current. It's like The Simpsons before The Simpsons. It's not as cynical as The Simpsons would be but it's self-aware and there are a billion jokes, it breaks the fourth wall every five minutes, it's astounding, it's awesome. It's very exciting to be a part of that.
So I made an outline. Well, you know, days are going by, and I am not writing anything because this thing is laid out in front of me. It's as if you get every brochure for a trip you are going to go on and you get the minutest details of every step along the way. Well, I really doubt you're going to then get in the car and go. You know, it's like, why bother if it's all laid out in front of you?
I had this whole issue of doing a crime film in the 2010s. The genre's been mined very, very heavily. Post-Scorsese, post-Tarantino, post-Guy Ritchie, what do you do? I wasn't attracted to pulp so much as all of a sudden I had a pulp problem. I had to find a way to make this interesting, because there's a lot of crime films that come out on VOD every week, and a number of these star Nicolas Cage.
When you are making a lot of money people forget you are trying to be creative and they picture you laughing all the way to the bank ... especially with an action script, automatically it gets boo-hooed as being worthless. It was very difficult to hear that sort of thing and I lost a good many friends over money issues because they didn't have money or their scripts weren't selling and mine were.
Josh [Friedman] and I have been friends for years, and he said, "Hey, if you ever want to do a TV show, I can take it over and run it," and I was like, "Yes!" He's always been so busy that I never dared to ask that, but it just worked out, time wise, that this was the season where we could probably do it, so I jumped at it. So, even though I'm busy with other stuff, I'm excited to be writing this.
I grew up with a single mom who was a waitress. We were on food stamps. My mom then got Pell Grants, put herself through college to get a degree to get a better job. Because we were broke, I then had to go to a state school. I went to Temple University, and had to get loans. So I grew up in a world where I saw the government helping individuals pull themselves up, and saw it work very successfully.
For most people, religion is nothing more than a substitute for a malfunctioning brain. If people need religion, ignore them and maybe they will ignore you, and you can go on with your life. It wasn't until I was beginning to do Star Trek that the subject of religion arose. What brought it up was that people were saying that I would have a chaplain on board the Enterprise. I replied, "No, we don't.
Indiana Jones: Archaeology is the search for fact... not truth. If it's truth you're looking for, Dr. Tyree's philosophy class is right down the hall. ... So forget any ideas you've got about lost cities, exotic travel, and digging up the world. We do not follow maps to buried treasure, and "X" never, ever marks the spot. Seventy percent of all archaeology is done in the library. Research. Reading.
I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.
There's a great difference between knowing that a thing is so, and knowing how to use that knowledge for the good of mankind. Thetrouble with a scientist is we quickly tire of our discoveries. We hand them over to people who are not ready for them, while we go off again into the darkness of ignorance, searching for other discoveries, which will be mishandled in just the same way when the time comes.
There are different levels of fame. There are the polite fans who quietly and respectfully approach you and ask for an autograph - and that's acceptable. But the next level... when you think you're having a moment of privacy and there's someone with a long lens catching you when you're about to eat, or sunbathe, or worse... it's just so intrusive and I think it's part of the sickness of our culture.
I want brave people. Fearless ones. A good actor just goes out and leaps off the edge and develops wings on his way down, hopefully. That's the kind of people I really enjoy working with. Playing safe isn't much fun. I like danger. It's controlled danger, always, and that's why I hope I don't lure too many good actors down into the pits with me, because I hope they maintain their own unique talents.
I'm tempted to say, 'Writing treatments is like designing a film by hiring six million monkeys to tear out pages of an encyclopedia, then you put the pages through a paper-shredder, randomly grab whatever intact lines are left, sing them in Italian to a Spanish deaf-mute, and then make story decisions with the guy via conference call.' But no... compared to writing treatments, that makes sense, too.
Producers - we always think, "Well, producers are very powerful," but producers don't really have the power. It's the appearance they might, but they don't. Even the actors don't. Even the studio heads don't, because they're beholden to this corporation and what the corporation wants. So no one really has the power, and everybody's trying to get through the day, and everybody's nervous and desperate.
The computer has evolved into a partner, a tool, and an environment--not just in science fiction, but in the public consciousness as well. Computers are no longer malevolent iron brains that manufacture tyrannical and oppressive answers; they are not a way to think, they are a place from which to think. The computer is an environment in which answers can be sought, created, manipulated and developed.
When you have people who are embarrassing themselves for a living, who are making themselves look foolish and vulnerable and emotional for a living, your day-to-day reality is going to be a high-wire act. People are going to get in fights. People are going to get upset. People are going to walk off set. People are going to call each other names. It happens on every film that has any emotional people.
I don't think Roger Ebert has ever mentioned a screenplay. He assigns every auctorial move to the director, which makes some sense since the director has run a one-off game, but if Hamlet were written last year and had been only performed once as a film, and it didn't come off well on screen for whatever reason, it would be gone forever as a literary work, and never would have been considered as one.
Miles and I had been looking to do a martial arts show for some time. Our first two movies that we wrote were "Lethal Weapon 4" and "Shanghai Noon" with Jackie Chan. Then we sort of got pulled into the superhero world, but then you look around at what's not on television and there wasn't really a martial arts shows. There are shows that do martial arts to a degree, but there's not a martial arts show.