A Quote by Bruce Vilanch

I do a lot of screen re-writing. — © Bruce Vilanch
I do a lot of screen re-writing.
I much prefer writing an original movie with the screen in mind to transferring a play to the screen.
I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.
I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.
I spend so much time on the screen when I am writing, the last thing you want to do is spend more time on the Internet looking at a screen. That's what I hate about all this technology.
You know when you're writing, and it's just you and the computer screen, and you never think that anyone is ever going to read it... you're able to say private things when you're writing.
The truth is, when I started to make films, I was terrified. I had a huge difference in what I was writing in the screenplay and what was on the screen after. Sometimes there was a big gap. Now, the more I have experienced, the more I do movies, the more I feel that the dream is closer to the screen. It's coming with experience.
Millions of people are joined in the knowledge that writing brings insight and calm in the same way that prayer, meditation, or a long walk in the woods does. They have discovered that writing allows the racing mind to move at the pace of pen and paper or the pace of typing on the waiting screen - that journal writing is a spiritual practice.
My records have a lot of collaborators on them, and when you're writing a book, it's a very insular process that's very confusing and dark. It's a lot of writing and rewriting in a way that I don't do so much when I'm writing songs.
While asleep, I had an unusual experience. There was a red screen formed by flowing blood, as it were. I was observing it. Suddenly a hand began to write on the screen. I became all attention. That hand wrote a number of elliptic integrals. They stuck to my mind. As soon as I woke up, I committed them to writing.
You just have to re-wire your brain when you’re shifting from the stage to the screen, or the silver screen or the HD flat screen.
You just have to re-wire your brain when you're shifting from the stage to the screen or the silver screen or the HD flat screen.
Something I've always known about the screen is that if it's anything in the world, it's literal. It's so literal that there's a whole lot you can't do because you're stuck with the literalness of the screen. The stage is not literal.
When you're flying off soft keys on a touch screen it's a totally different feel, and a lot of muscle memory is lost. There is that delay when you look at the screen and input a command before it's executed, versus something instantaneous when you move the stick.
I'm a passionate person. I'm a lot of things, like most people are. Most people are dynamic. The focus is not on me though, I'm a screen. The aim is to always keep myself in the position where the screen is clear.
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