A Quote by Alice Lowe
I think what's difficult is proving to people that a script actually does work and sometimes the laughter might not be on the page, it might be between the lines.
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I don't think fast enough on my feet in terms of the writing to change the script too much when I'm shooting it. I like to have it set and done and know that I feel good about it and I might add a few lines here and there while we're shooting, if I think of a new joke, I might toss it in, but for the most part, I try to stick to the written script and have all the latitude exist within that.
Sometimes you write passages that don't need to be rewritten. Performance is that for me. Improvisation, things that happen in the moment, are sometimes wonderful, or wonderful as a moment to be shared between performer and people, but that's it. There might be a strong bond between you and the people, a transformative night, but as a live record it might not translate.
The typical jobs that a lower-skilled immigration worker might do might be construction work, it might be hospitality work, it might be restaurant work, or might be not working at all and just going onto the welfare system if there isn't a job for that individual.
I think that you can say something in one line with a look that you might need three lines on a page for normally.
People say doing a startup is like a marathon. It's actually a roadtrip at night with no headlights. You think you're going to Toledo but you're actually going to Miami and you might not have enough gas so you might need to buy gas from someone who might take you out if you aren't driving well
I think it's quite difficult to understand what kind of life a writer leads. They might be millionaires, or they might be starving people.
Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines.
A script is a very rough material in a way. Whatever questions you might have regarding the script, you might find the beginning of the answers in the book.
Poets think in short lines. Unless you're Samuel Beckett, Twitter might be more difficult for novelists.
Some people connect with a story and may find between the lines something that might be useful to him or her, but that's not the intention of the author, I think. At least not mine.
Once we actually have the production script after many rewrites, at that point is when I start to decide what the look and colors will be. I work like a painter, even though I'm working in three dimensions. I'm working with chairs. I'm working with walls. But even things like the floor or the walls that people might think are not important, they actually do influence the visual look of the film. These are also things that I have to think about.
The challenge is that if you stimulate your immune system, it might get over-stimulated. And it might actually start causing harm to normal cells in your body. So we have to work a balance between attacking the cancer and not attacking yourself.
It [the scene] can be something given to you and you go, "Ah this is a good idea, I can work with this." Sometimes it cuts right across your instinct and that's when I might resist. Even if the director might be insistent, I think it's very important to say, "Look, I'm not feeling this. I'll try to make it work but I got to let you know."
For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.
It's difficult to stop trying with the one you love. You always hope that this next time might work, might change everything for the better.
I might write four lines or I might write twenty. I subtract and I add until I really hit something I want to do. You don't always whittle down, sometimes you whittle up.
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