A Quote by George Lucas

He took me from not being able to write a word in terms of writing screenplays to being the king of wooden dialogue. — © George Lucas
He took me from not being able to write a word in terms of writing screenplays to being the king of wooden dialogue.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
My approach to making movies is different than other people, because I just write a lot of screenplays. I'm constantly writing screenplays.
Not being able to read and write music is not the same as being illiterate in speech and writing.
Screenplays are not writing. They're a fake form of writing. It's a lot of dialogue and very little atmosphere. Very little description. Very little character work. It's very dangerous. You'll never learn to write.
I don't think I see the world in terms of stupid or clever, but in terms of being able to get irony. There's some awful statistic about only 20 per cent of Americans being able to understand irony.
I think of myself as a guy who tries to write screenplays and now has tried to direct one. Anything more than that is meaningless and it gets in the way of being a real human being.
Douglas Adams did not enjoy writing, and he enjoyed it less as time went on. He was a bestselling, acclaimed, and much-loved novelist who had not set out to be a novelist, and who took little joy in the process of crafting novels. He loved talking to audiences. He liked writing screenplays. He liked being at the cutting edge of technology and inventing
In my mind, only one inviolable precept exists in terms of being a successful writer: you have to write. The unspoken sub-laws of that one precept are: to write, you must start writing and then finish writing. And then, most likely, start writing all over again because this writing "thing" is one long and endless ride on a really weird (but pretty awesome) carousel. Cue the calliope music.
In fact, sometimes traveling the world is a way of not writing a poem, but it's the quality of experience. It's being able to experience something and when you begin to write about it be able to apply the tools that you need for writing.
No one, evidently, except me has found "No Alarms" poem ironical that an obsessive theme in my writing was - and has continued to be - not being able to write.
I used to be afraid of two things - being alone and not being able to write. Since Albert's death, I don't care about writing or about other people.
Writing screenplays is not my business. I've written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You're an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.
The writing became a hobby in the background: it took a back seat to parenthood and being a person and being a human being.
Being part of The L Word made me realize how much more television can be that what I had experienced in my lifetime in terms of being able to be of service to people. I had so many fans come up to me who were really deeply appreciative of the show and what it had meant for them and their own sense of identity and their own sense of inclusion in our society and in our culture.
Being alive is being aware, being able to be touched and moved and changed, being able to respond rather than to react, being able to see and hear.
When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.
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