A Quote by Beau Willimon
In the best possible scenario, whenever you get notes from people, they're good notes, and they see things that you wouldn't have seen otherwise, and they make you a better writer.
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The lovely thing is, if Marvel had a Spider-Man movie over at Sony or something, they own the rights to the character, and the editors and producers make suggestions and get notes and things. But you're talking about Matthew Vaughn and Jane Goldman. They're two of the best people in the world. The notes are just things like, "This is absolutely brilliant."
Economy: that what you played had to have meaning, not just a bunch of sixteenth notes. You learn to make better choices of notes as you get older.
A scale is just the notes that are in a chord played one at a time instead of together. That's what has allowed me to go through the possible notes that work with a chord and make choices about which ones I like best. I go through by ear; you can do it by theory too, but the best way is to learn by ear.
You get notes from two studios and a network instead of a studio and a network. Although we early on forced them all to do their notes together. I make them all talk to each other first. Because we went through the pains of getting notes from ABC and at the time it was Touchstone, that were opposite - and then CBS notes that were opposite again. So it was, you guys are going to have to work it out as to what is the most important note.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
Cultivate an ever continuous power of observation. Wherever you are, be always ready to make slight notes of postures, groups and incidents. Store up in the mind... a continuous stream of observations from which to make selections later. Above all things get abroad, see the sunlight and everything that is to be seen.
As you get older, some top notes drop off and bottom notes appear, which I quite like. You listen to Leonard Cohen or Johnny Cash, and you see the advantage of the lower end.
When I worked in theater, I was always writing things on Post-it Notes and sticking them on screens or desks. Twitter has given me a way of continuing to post those notes, only a lot of other people see them, too.
For notes related to books I'm writing, I've wondered whether I should organize my notes better, but I do find that the action or scrolling through them and seeing odd juxtapositions of ideas helps to stimulate my own ideas and creativity. I worry that if I kept the notes in a highly-structured way, I might lose some of these benefits.
The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides.
The notes I handle no better than many pianists. But the pauses between the notes ah, that is where the art resides.
To me, the biggest notes and the longest notes are the easiest notes.
I would encourage you as a screenwriter to trust your story and don't make notes for the actors or don't make notes for the reader.
The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.
A lot of young drummers have a tendency to really overplay. Sometimes simple is better, and the notes that aren't played between the spaces are bigger than the notes that are.
When I read, I take notes and underline things. So reading is a vigorous process for me, but I read in bed. My poor husband is trying to go to sleep, and I'm reaching over him to get the Post-it notes.
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