A Quote by Alejandro Gonzalez Inarritu
I love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles.
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I haven't worked on a lot of different shows, but from just watching different shows I've noticed that there isn't necessarily on every show that love of crafting an episode that has the three part act structure that comes around and actually tells a complete story.
I think a script is great when it starts with the structure and works with the structure without falling into the typical three-act system in which the audience is ahead of the movie. I hate that, but that is like 99% of what I read.
I like to branch across a lot of different styles and brands in the way I dress; it's just the way my style works. So I love that I can walk into a Target store and think, 'Oh my God, I love these jeans,' and then I'll pair them with something designer.
For notwithstanding this rest and cessation from labor which is required on the Lord's day, yet three sorts of works may and ought to be performed. . . . these are works of piety, works of necessity, and works of charity.
(Game theory is) essentially a structural theory. It uncovers the logical structure of a great variety of conflict situations and describes this structure in mathematical terms. Sometimes the logical structure of a conflict situation admits rational decisions; sometimes it does not.
'Love Will Keep Us Together' was a combination of three different singing styles - Al Green, the Beach Boys, and Diana Ross. I loved all these people, and I put their singing styles together and wrote that tune.
Marches work, rallies work, civil disobedience works, direct action works, voting works, writing letters works, speaking to churches and schools works, rioting works.
When I use a name or place, I want to leave the reader open to the waterfall of determinacy that it may provoke. And I don't know, but I must mention the name Borges. I try to mention it in every one of my works. It's a mark, a stamp, a sort of homage to Argentinidad. But it's an homage that works through pat phrases, those stock images that populate his work: the night, labyrinths, libraries. That is, I don't want simply to pay homage to Borges, but rather the contrary: to recall his commonplaces.
What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.
My parents have a ridiculous work ethic; my dad just works, works, works, works, works. I think it would be hard to find a guy who's logged more hours than that guy.
The proof of love is in the works. Where love exists, it works great things. But when it ceases to act, it ceases to exist.
Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.
The way the media cycle works, the way the news works, and the way people's attention span works, is that we only learn that people exist when there is crisis.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
Science is really about describing the way the universe works in one aspect or another in all branches of science-how a life-form works, how this works, how that works. ... You have to have a natural curiosity for that.
We know that we need to explore desire in fiction - many say that the only way a story exists is that a character feels a strong desire - and nature is the place where creatures act on their desires in the most pure way imaginable, so maybe nature also works as a metaphor for whatever emotional troubles my characters have to negotiate. I'm interested in my characters as survivors, and maybe that works best when the old-fashioned notion of humans surviving in wilderness is not too far away.
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