A Quote by Mel Gibson
There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.
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Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
In this work (peace building), the role of religion is fundamental. It is not possible to build bridges between people while forgetting God, ... But the converse is also true: it is not possible to establish true links with God while ignoring other people. Hence it is important to intensify dialogue among the various religions, and I am thinking particularly of dialogue with Islam.
At a certain point, I got used to writing on demand. I developed a habit of writing like I hired myself! I also like to write about things that affect me emotionally.
I know I have patterns and I've always tried hard to avoid them. There are definitely certain things in my music, if I'm looking back, "Well, that was a period where I was experimenting with a certain kind of chord structure or a certain kind of sound." I've tried really hard, but I'd be hard pressed to tell you what that sound, what that tangible sound of "me" is.
I think that is one of the things that is beautiful about fiction and that you can do through drama. If I was a detective, I could make a certain version of everything we know to be exactly true. And that would have a certain kind of truth value. And there are certain other things that we know that are emotionally true.
Language is very deceiving. In certain languages, there is certain vocabulary that doesn't exist in other languages. It totally changes how people feel about things.
After every game I analyse my performance with the goalkeeping coach in a very critical manner. There is certain criticism you will take on board and other things that do not affect you. You cannot look too far into that because it can destruct you in a certain way.
I know I always worked hard on making sure we came out with the best possible product and of course we were working with four other people, you have to balance that as well.
The politics of language and the politics of writing really got to me. I've heard this phrase more than once now: this idea of the poetry wars, or the idea that people within the space of writing are at odds with one another or manipulating language to further one's political stance, manipulating language in ways that really felt dirty to me. All of these things worked their way into and through language for me.
In a certain sense, and to a certain extent, he [the president] is the representative of the people. He is elected by them, as well as congress is. But can he, in the nature [of] things, know the wants of the people, as well as three hundred other men, coming from all the various localities of the nation? If so, where is the propriety of having a congress?
'One by Two' is a film about two people who live in the same city and do certain things that affect each other's lives. Yet, they are strangers. It's difficult to put the film in any particular genre or box.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
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