A Quote by C. S. Lewis
But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.
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To play well the scenes in which we are 'on' concerns us much more than to guess about the scenes that follow it.
The parallels between a stage and a book are compelling. You, like all authors, create 'characters' in a 'setting' who speak 'dialogue' encased in 'scenes.' Most importantly, you - like the playwright - have an 'audience.'
It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.
Both as a filmmaker and as a fan I love the behind-the-scenes stuff, I like it even more than deleted scenes frankly. Especially when you're happy with the movie and you're proud of it, those deleted scenes give you also a sense of the making of the film and the process through which you end up with the final product.
Sometimes a writer writes scenes for people who just say 'Hi' to indicate they're in love. I play those scenes very well.
We are not the playwright, we are not the producer, we are not even the audience. We are on the stage.
Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
As for me, it is interesting to play a role that is not human; it is nice to be all powerful without fancy action scenes. But, it is not funny to play God, even on film. You don't speak much and just smile beatifically.
If you play comedic scenes like they're really serious, then it's so much more funny than if you're going for a laugh.
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.
I just think of interesting roles to play. I guess that I have matured, I guess growing up and becoming a man, your taste in characters changes and I think I have become more interested in active characters as I have become less contemplative in my personal life. Things have become a little bit more interesting in the doing these days and less interesting in the thinking about the doing.
The characters I tend to play are a little more interesting than the standard heroes. Romantic leads can be a little more straightforward, I guess. But it just seems to be the parts I get, I don't know what that says about me. I enjoy interesting characters and interesting people, I suppose.
Within the various acts of the ecodrama should be included scenes in which men's and women's roles come to center stage and scenes in which Nature 'herself' is an actress.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
GOOD AS NEW was born out of the idea of writing a play where the stakes were high and the collisions were of a verbal nature. Also I wanted to write a play where people were smarter than I was, and more alive than I feel normally. I became interested in the idea of characters who would surprise me. I guess one could argue that nothing comes out of you that wasn't within you to begin with, but maybe there are ways to trick yourself into becoming more an observer or an advocate for the characters.
And one of the things that's interesting about how they're doing the show is that the audience almost knows more than the characters do in some of these scenes, and the extent of that is unique. So it's grown into a different show in a way. It's sort of grown into a different experience watching it.
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