A Quote by Whit Stillman
Before, I was writing a script to make a movie. At a certain point, I became A Writer in Film and Television. So I got TV deals to write stuff, film deals to write stuff. But it's dangerous. I got into the WGA, and I became kind of, you know, a slave! They just pay you to write a script, and it's hard to make the movies.
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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.
Inside me, 'Dragon Ball' became a thing of the past, but later, I got upset at the live-action film, revised the script for the anime film, and complained about the quality of the TV anime. I guess, at some point, it became a work that I like so much that I can't leave it alone.
When I got to 'Looking,' I didn't know that you could write stuff and they would put it on TV. That was that experience. My boss was Andrew Haigh and he came from film; he had never done TV. It was his first TV show, and he was running it. And I think he was like, 'Write it, and we'll put it on.' It was lovely.
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.
That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.
I was waiting for a right script and then I got a script which I could write and tell the story the way I want to. And that film is 'Antim.'
I remember that when I got to NYU, everyone was writing scripts. But I was 18 at the time, and when you write a script, so much of it is about what you pull from life, and this sounds sort of cheesy, but I felt like I didn't have enough life experience at that point to write a movie.
In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.
I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.
I want to write a score for a film. It can be a proper film, maybe for a film kind of like... I saw that movie 'Drive', or a bit of a 'Blade Runner' vibe. A little bit sci-fi, but I don't know. I've just always wanted to write a score for a film.
When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.
I've done lots of songs for film soundtracks and things like that-stuff I'm not ashamed of, but that doesn't represent my legacy with the Pretenders...I think domesticity certainly doesn't make it easy to write, you know, because you've got a lot of distractions and I think a writer is always looking for distractions.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.
Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.
Are Christians too stupid that we can't write a script, we can't film a movie OR we don't know how to act?
It's hard for me to find a script that's perfectly suited to me, so even if it's a good script, I'll still have to work on it with someone and shape it, making it the film that I want to make. So in that respect, I prefer to do the stuff that I've generated anyway.
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