A Quote by D. A. Pennebaker
You don't necessarily need a script or actors to tell a compelling tale. Finding a person at a key moment in his life and rendering the truth as you see it - that's the truest form of drama.
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Breathes life into a vital but oft-neglected chapter of our history. Amy Belding Brown has turned an authentic drama of Indian captivity into a compelling, emotionally gripping tale that is at once wrenching and soulful.
It's a great responsibility before God, the judge who guides us, who draws us to truth and good, and in this sense the church must unmask evil, rendering present the goodness of God, rendering present his truth, the truly infinite for which we are thirsty.
There are some actors that are great stars and storytellers, but not necessarily good actors. I'm talking about some - not all - of the people you see in action flms or blockbusters. They're film stars, though not necessarily great actors. And there are those who are great actors, but not necessarily big film stars. Jim Sturgess is both. He's quite obviously a star, the audience likes him, he's a great storyteller and he turned out to be one of the greatest actors I've worked with as well.
I always want to tell the truth. It doesn't have to be a pretty truth, and it doesn't have to be a life-changing and life-threatening truth like 'Chi-Raq.' But I want to tell someone's truth in an effort to inspire people to see themselves reflected on the screen.
I usually choose movies that I would want to see. I appreciate drama and if the right script came across my desk, drama you will see.
I still believe there is a lot of truth in Orthodox Judaism, but not the whole truth. Each person has his truth that he has to discover. You don't necessarily have to mold yourself to another idea of who you are.
I wouldn't say I'm a very controlling person. For instance, when I talk to the actors, I don't tell them exactly what I want because I want them to surprise me. I even encourage them to change some of the verses of the script if they need to.
The moment one accosts a stranger or is accosted by him is above all in this life the moment of drama... Whoever we meet watches us intently at the quick, strange moment of meeting, to see whether we are disposed to be friendly.
When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one.
It is too often believed that a person in his progress towards perfection passes from error to truth; that when he passes on from one thought to another, he must necessarily reject the first. But no error can lead to truth. The soul passing through its different stages goes from truth to truth, and each stage is true; it goes from lower truth to higher truth.
Almost any tale of our doings is comic. We are bottomlessly comic to each other. Even the most adored and beloved person is comic to his lover. The novel is a comic form. Language is a comic form, and makes jokes in its sleep. God, if He existed, would laugh at His creation. Yet it is also the case that life is horrible, without metaphysical sense, wrecked by chance, pain and the close prospect of death. Out of this is born irony, our dangerous and necessary tool.
I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.
But what man does out of despair, is not necessarily a key to his character. I have always thought that the real key is in that which he seeks for his enjoyment.
Having written both comedy and drama, comedy's harder because the fear of failure's so much stronger. When you write a scene and you see it cut together, and it doesn't make you laugh, it hurts in a way that failed drama doesn't. Failed drama, it's all, 'That's not that compelling,' but failed comedy just lays there.
I hate to think of a day where a compelling book or a compelling authorial voice would be lost simply because that person doesn't have a Web site. But I think that, to use the Internet in a positive way, to turn people on to reading, is something that authors shouldn't really shy away from necessarily.
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