A Quote by Edan Lepucki

I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.
I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.
When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."
In some ways, it's easier to be the lead. Week after week, scene after scene, the rhythms of filming force you to peel away a certain amount of artifice. When you're on set that much, there's a license to let the character emerge from the work itself.
I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.
I tend to edit some as I go - partly because one of the reasons I don't outline much is that I don't know what the next scene will be until I've actually written the previous scene.
In scene after scene, meaning sneaks in and sometimes roars.
[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
The world of chemical reactions is like a stage, on which scene after scene is ceaselessly played. The actors on it are the elements.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
You're not doing the scene exactly the way it is in the book [The Hunger Games], but the intention of the scene is there.
I love more than anything looking at a movie scene by scene and seeing the intention behind it.
Maybe I had something to do with that. I don't know. But public don't believe press. If you were straight and really told it like it is, as Howard Cosell used to say, right? Of course, he had some questions also. But, if you were straight, I would be your biggest booster. I would be your biggest fan in the world, including bad stories about me. But if you go - as an example, you're CNN. I mean, it's story after story after story is bad.
I love more than anything looking at a movie scene by scene and seeing the intention behind it. It allows you to really appreciate the hand of the filmmaker.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
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