A Quote by Eden Robinson

If I have a clear spot in my schedule, I like to tackle the heavy scenes that require the heightened emotion and focus of a long writing session. Otherwise, I have daily obligations that can't be ignored.
Just before a game, I try to keep a clear mind so that I can focus better. I'm the kind of person who plays fast and relies a lot on intuition, so being at peace with myself is vital. Saying my daily prayers helps me achieve this heightened state of mind.
Criticism is, for me, like essay writing, a wonderful way of relaxation; it doesn't require a heightened and mediated voice, like prose fiction, but rather a calm, rational, even conversational voice.
Scenes must be beautiful which daily view'd Please daily, and whose novelty survives Long knowledge and the scrutiny of years.
I'm really bad writing the chase scenes or fighting scenes. I'm much better for writing, like, a more melancholic or tragic music.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
Every day, I get up to hit the gym; the schedule is such that it gives me the requisite energy to last the entire day. I stress on cardiovascular exercises, and the workout is programmed with my sporting schedule. Most of the fitness schedule is based on what I require for my upcoming matches.
When you meditate, you focus to clear the mind and to bring the willpower together. But then, toward the end of the session let go, just become eternity.
Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to.
Part of my function as a writer is to dream awake. And that usually happens. If I sit down to write in the morning, in the beginning of that writing session and the ending of that session, I'm aware that I'm writing. I'm aware of my surroundings. It's like shallow sleep on both ends, when you go to bed and when you wake up. But in the middle, the world is gone and I'm able to see better.
My approach to comedy is that whenever it comes to me, I write it. With 'The Daily Show,' you have to write stuff every day, and that's a new experience for me, to not only write on someone else's schedule but a daily schedule.
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
I think I was always writing books that had very clear scenic structures. I do tend to write in scenes. I do tend to have a fair amount of dialogue. And I do tend to use stories that don't sprawl all over the place, that have a very sharp focus in terms of how they unfold in time.
I prefer love scenes to be shot up close with a lot of focus on eyes and mouths. Otherwise it can feel uncomfortable and voyeuristic.
Writing directly from a feeling of anger or sadness is difficult, but if you distract part of your brain with word games, the ignored emotion often tiptoes in.
It's been very much in the blood since I started imagining films or shooting with 8mm when I was a kid. I made some films and thought about films, but then I went into writing. Becket is something that's definitely on the cards. We have to see where that fits in the schedule, because it's a big picture and I have a lot of writing obligations at the moment. I'm wary of anything with a budget over a certain amount.
Important achievements require a clear focus, all-out effort, and a bottomless trunk full of strategies. Plus allies in learning.
This site uses cookies to ensure you get the best experience. More info...
Got it!