A Quote by Bruce Campbell
You can't get a movie made without a script; it's the blueprint to your building.
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In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do.
I'm so respectful of good writing. It's the blueprint for the movie. You have to have that script there because, if you don't, you're going to have problems. It's very important. It's also a gut instinct.
A novel, of course, is a fully self-contained work of art. You pick it up off the shelf, open it, and there it is - a whole universe waiting for you to enter. A screenplay is just a blueprint for making a movie. Until the movie is actually filmed, the script really means nothing.
You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.
Whenever I'm doing any film, there's always three different things. There's the script, which is really just a blueprint. And then, you shoot the movie and it's an entirely different experience than you would expect from reading the script. And then, there's the whole post process and the editing, and it becomes something else entirely.
The bible is not a blueprint for every day of your life, it is an inspiration not a blueprint. That requires that we listen to one another and get challenged and grow by living with difference within the body of the church.
The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.
I think if you get your fifth script made, that's the fast track. But there's no guarantee any of them will get made.
A lot of movies are made, but because they come to film festivals and your movie doesn't get bought by a studio or a distributor, your movie doesn't get seen.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
It's really hard to sell a script, and it's even harder to get a movie made. It just almost never happens.
Getting movies made is not as difficult as people think. Making movies is easy. You get a script, you get a director, you raise the money, you make the movie.
A movie is very different when you're writing the script and you're building a story compared to what the final product is.
I think Memento movie was hard because people didn't get it, they just didn't understand it. Not from the stage when we read the script and liked it. It's sort of a famous story now how we finished the movie and showed it to distributors and nobody wanted it. So it wasn't just they didn't get the script, they really didn't even understand the movie when it was done. But I think that was a particularly hard one. I don't think it was harder because we were girls, but I do think obviously there are particular challenges to working in a male-dominated industry.
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