A Quote by Graham Linehan
If you're a good writer, you don't have everybody shouting in every scene.
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The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy-the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops
When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.
I care about actors, and I understand them in a very personal way. I'm not saying every writer has to do that, but in my case, it's been helpful. I can put myself into the scene and think, 'What would it be like to act this?' Any writer who's really good probably does that to some extent.
Well we took it apart scene by scene. We examined every sentence, every full stop, every comma. He has a most wonderful eye for detail, Roman, and you know, he's a very good artist.
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
Truth is, every writer has to be a good editor, and you have to edit yourself. It's a skill every writer has to acquire.
Better world. Better life for everybody, every worker. Poor kids oughta be able to go anyplace their brains will take them. Not where Daddy or Mommy's pocketbooks can send them. Everybody oughta have health care, everybody oughta have some retirement security, every American. Every one. Everybody oughta have a decent good job. That's what I believe in, and that's what I fight every day to try to achieve.
There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.
Literature is a place for generosity and affection and hunger for equals - not a prizefight ring. We are increased, confirmed in our medium, roused to do our best, by every good writer, every fine achievement. Would we want one good writer or fine book less? The sense of writers being pitted against each other is bred primarily by the workings of the commercial marketplace, and by critics lauding one writer at the expense of another while ignoring the existence of nearly all.
Even when you're acting with a producing hat, when you're in every scene, you're really conscious of trying to make everybody as good as they are, because ultimately you're trying to make the best movie possible.
Every writer prefers good reviews over bad ones, and every writer wants to have lots of readers. But if it doesn't happen, that's fine too. Perhaps I won't throw a party then; I'll simply go home and keep writing.
I prefer a much looser style. Any time a writer thinks he has all the answers to how someone should talk or react or end a scene, it's a spontaneity - killer. I don't get making sure you get every word right in some stupid speech just because a writer sat there and did it.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
In each scene, the writer sets up a situation, which brings a conflict as well as either a small victory or a loss at the close of that particular scene.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
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