A Quote by Gavin O'Connor
When you do scenes that are just exposition, they feel false.
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I think you approach a part the same way and just find out in what's making them tick and who they are. In a movie like this you may have a little less time and few dialogue scenes and exposition scenes for your character to really get that across, and so I wanted to be able to convey that she's not somebody who's just punching a clock but she has this weird emotional investment in her job to where she does get quite myopic and that's what makes her relentless.
Inexperienced fiction and creative nonfiction writers are often told to show, not tell - to write scenes, dramatize, cut exposition, cut summary - but it can be misguided advice. Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose
You have to write scenes and design scenes that are scary and horrific, but that are also watchable. I didn't want people to just feel like they got punched in the stomach.
Instead of saying, ah, I don't have the money, just embrace it and do what we can do. And the scenes that we film and the characterizations in the scenes can come out interesting. And I really feel good about that, going into it.
I think it's just a lot more pressure to make the scenes work when you're doing a film, because when you're doing a series you feel like, I have so many scenes, so many episodes, so if I don't get it exactly right this time, I have another scene later. You feel less pressure.
Especially today, Mollywood's action scenes comprise of many 'hero touches and the villain flies' scenes. I never promoted that, and only believed in realistic stunts, with just the right amount of cinematic feel seasoned on them.
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.
Filming scenes like that are always odd but I feel comfortable with Josh and care about him a great deal, so it could be much worse. Scenes like that are just part of the job.
To me exposition always contains tenderness. While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
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.
I'm an enemy of exposition. I feel there's no need to overstate.
The whole purpose of screenwriting is to convey everything through action and dialogue and not explanation and exposition. To me, there are movies where voiceover works really well because it does something more than exposition; it actually becomes a tonal element of the movie.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
I have a graduate degree from Penn State. I studied at Penn State under a noted Hemingway scholar, Philip Young. I had an interest in thrillers, and it occurred to me that Hemingway wrote many action scenes: the war scenes in 'A Farewell to Arms' and 'For Whom the Bell Tolls' come to mind. But the scenes don't feel pulpy.
It is always the false that makes you suffer, the false desires and fears, the false values and ideas, the false relationships between people. Abandon the false and you are free of pain; truth makes happy, truth liberates.
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.
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