A Quote by David Robert Mitchell

There's a difference between the way I see it and the character's interpretation of the events, so the rules within the film are the rules within the film. — © David Robert Mitchell
There's a difference between the way I see it and the character's interpretation of the events, so the rules within the film are the rules within the film.
Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
It's much better to have rules that we can actually live within. And absolute prohibitions, generally, are not the kind of rules that countries would live within.
Baseball and the players association have rules. If you stay within the rules - which say that you can play while you're appealing - I don't see what anyone would be in arms about.
The rules that I adhere to are the rules of minimalism. And those rules kind of force writing to be more filmic... to have the immediacy and accessibility of film so that the reader really has to fill in a lot of the details.
'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.
I have a slight controversy with the Dogme brethren because I've been saying that rules are to be interpreted; not that I haven't followed the rules, because I don't see the point of submitting yourself to a set of rules if you don't follow them. But having said that, it is always a lot of interpretation.
For me, the challenge of a period film is that, unlike a contemporary film where the character can be very free-form when it comes to the acting, there's a burden to acting in a period film because you have to stay within the character's historical background and the gestures of certain periods.
I create a guise or a band that I can operate within, and within each one of those bands, I've got an M.O. or a set of rules and parameters I can work within.
At the end of the day, you're trying to make a certain film within a certain budget. Those rules never change.
A story is a story is a story. The only difference is in the techniques you bring to bear. There are always limitations on what you can and can't do. But I enjoy that. Just like when you write a sonnet or haiku, there are rules you have to abide by. And to me, playing within the rules is the fun part. It keeps the brain fresh.
There are so many rules about how you make a film and so many conventions that you can and can't do. I think people have forgotten that they are just rules that were invented for convenience - sometimes it is more convenient not to obey the rules.
Whenever you deal with science fiction you are setting up a world of rules. I think you work hard to establish the rules. And you also have to work even harder to maintain those rules, and within that find excitement and unpredictability and all that stuff.
Within the songwriting community, there are these unwritten rules for the way that a song should be written in country music, and I think that those rules are constantly being broken over the years, and the molds change and the process is evolving.
A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.
I feel like I have always played within the rules. I would never break the rules.
I make up a set of rules and play within those rules until I win.
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