A Quote by Alex Kurtzman

When you start a script you aim to hit a note you know you want to end in general. — © Alex Kurtzman
When you start a script you aim to hit a note you know you want to end in general.
The aim of talk should be like the aim of a flying arrow -- to hit the mark; but to this end there must be a mark to hit, that is, there must be a listener.
When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.
I know that all good things must come to an end and I've had an incredible ride. I just want to end it on the right note.
Creators start at the end. First they have an idea of what they want to create. Sometimes this is idea is general, and sometimes it is specific. Before you can create what you want you want to create, you must know what you are after, what you want to bring into being.
I don't want to blow my own trumpet but the aim of the game is to hit and not get hit and that is what I am doing.
You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.
Beethoven said that it's better to hit the wrong note confidently, than hit the right note unconfidently. Never be afraid to be wrong or to embarrass yourself; we are all students in this life, and there is always something more to learn.
Dogwalker is a book of fiction, with characters based on the types of people who truly exist in the world. I've seen them and know them - some of them I know really well. Although the stories are sometimes gritty and unsettling, my hope is that in the end they hit a positive note.
But when you get to know a character so well, you start to have insights that you can't show because you're confined to your script of your hit show.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
In a play, you know where you start and end and all the stops you have to do, but in television, you can't construct this carefully planned out arc for your character. You often get a script and you're shooting it two days later, and you don't know what's going to happen next. It's one of the harder things that I've done.
I like having the script before I start. With new plays, you're constantly developing as you're doing it. It's really frightening. You don't quite know how it's going to end up.
If I get a note on my script or my films, what I say to a studio executive is that, 'You know, this is the film of my legacy, and I never want to be sitting in a theater looking up on the screen and seeing something that I don't believe in.' I will never do that.
If you hit a wrong note, it's the next note that you play that determines if it's good or bad.
I make singers sing every note fully and wait till they hit the right note.
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