A Quote by Guy Pearce
I think that you can say something in one line with a look that you might need three lines on a page for normally.
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I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this ..." And I was just like ... My jaw was to the ground.
I think what's difficult is proving to people that a script actually does work and sometimes the laughter might not be on the page, it might be between the lines.
If people need to be informed by lines, then there's no reason why the actor is saying the line except for information for the audience; I think there's something wrong.
Kids are kids. They still need handholding. No matter how trained they are, they need to be told what to do. They need to learn lines and understand blocking. You can't just say, 'I want you to walk from here to there and deliver your line.'
I'll look through a script, and if there's a lot of night shooting I tend not to want to do it. If there's huge party scenes and I'll go through a few pages and say "Well, at least I'm not in this," then the last page my character walks in and says something, I say, "Uh oh, that's going to be three days on the set sitting around drinking coffee at the craft-service table." Unless it's a great part. All in all if it's a great part you'll do it and I'll say, "Well, I'm gonna be on the set for three days."
I have a new method of poetry. All you got to do is look over your notebooks... or lay down on a couch, and think of anything that comes into your head, especially the miseries. Then arrange in lines of two, three or four words each, don't bother about sentences, in sections of two, three or four lines each.
We need an honest bottom line. Today that bottom line is vastly subsidized. If anyone of us were paying the full cost of oil our bottom lines would be very different. If you internalize the cost of oil, look at the cost of the war in the Middle East or the cost of global warming for future generations, if you internalize those external costs and what you pay, that bottom line would look very different, what ever business you are in.
Everyone had coverage. You might have like three lines, but there were 10 people, so they would cover each person. Three lines could take 12 or 15 hours, but it was fun because everybody was together. As hard as it was to shoot those scenes, I always enjoyed when we were all together.
Marvin Bell always looked very closely at how lines could break, how you could put over one line into the second line. How you could stop the line two or three times within the line: You could make it stop.
If you're going to say you're Catholic, you inform your conscience so that you're activities will conform to what God is telling us through the Church. If God is telling you something outside of that, well, the Church will look at that and say: we think it is true or we don't think it is true. The Church might say: that might be true for you but it has no public normative value.
What I try to do is to make your face look like it did when you were younger. I always tell people it's not just about filling in the lines, but re-creating the shape of your face as it was in your early- or mid-twenties. People see the lines as they age but they don't see how their shape is changing. I think it's all about restoring the contours. You can fill in a line and it makes you look a little better, but it doesn't make you look younger.
I think many people think competitive eating is a really disgusting sport, so people think they look bad normally. But I care about what I'm wearing. I don't want to be someone who is doing something that is considered gross and then also look like a slob.
In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
I write a line and then I revise the line and then I write two lines and then I revise lines one and two and then I write one, two and three and I revise one and two and then I write seven and eight and then I see that should be line four and I continually work it over as I go.
The two black lines on the armband means that they're the deceased's family. One line means they are either friends or acquaintances. One line of the arm, one line on the heart. The bastards who stood by my side with two lines, they'll be the hardest farewells I'll have to make in my life, and they're the luckiest fortune I've met in my lifetime.
There are three reasons for becoming a writer: the first is that you need the money; the second that you have something to say that you think the world should know; the third is that you can't think what to do with the long winter evenings.
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