A Quote by Howard Hawks
You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.
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I have a horror of the blank page. I simply cannot write on a blank page or screen. Because once I do, I start to fix it, and I never get past the first sentence.
Small screen or big screen my job on set doesn't really change. The only difference with TV is I get to be surprised with new information just like the audience every time I get a script.
If you have script problems and you don't fix them by the time you shoot, your script problems are now 40 feet tall.
The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad.
I can easily say "no" to a project if the script isn't great, but when the script is good, then I start asking the other questions. Who's going to direct it? Who's the creator? Who are the actors? When are we shooting? Where is it shooting? All that kind of stuff.
Sometimes you just have to turn the page to realize there's more to your book of life than the page you're stuck on. Stop being afraid to move on. Close this chapter of hurt, and never re-read it. It's time to get what your life deserves, and move on from the things that don't deserve you. Don't try to fix what's been broken in your past, let your future create something better.
I can fix a bad page. I can't fix a blank page.
The one thing you know when you're shooting a script - and I've been on a lot of sets - is space is in a script, and the distance between the page and the stage is so enormous that it is unbelievable how even the brightest people can misread your intent or not see it altogether. Scripts have air in them. Scripts are supposed to leave things up to interpretation, but people can misread things enormously, so sometimes it's just a matter of wanting to put on the screen what you had in mind.
Finding a good script is really difficult and the scariest thing of all is when they say about a script that's not right, "we will fix it.." It's like before you get on the Titanic and you see a big hole. In process, it's too late.
If you get a bad script, then you start expending energy trying to make a silk purse of a sow's ear. When the script's as good as those on 'Game of Thrones,' say, I don't think there was a single occasion where any of us thought there was a bad scene.
The most important thing in writing is to have written. I can always fix a bad page. I can't fix a blank one.
You're often trying to fix a script by shooting it.
Just learn the whole script before you start shooting. That makes shooting a joy. Even if they rewrite, it's easy.
Asteroids have hit the Earth millions of times. We can see them as shooting stars every night. When they get bigger, things get complicated. It is only a matter of time until a big one hits us. And since we can do something about it, we should.
I think very often problems are so big, people approach problems from the bottom up: 'If only I do this little bit, then hopefully there will be some sort of snowball effect that will be bigger and bigger.' I'm much more in favor of the top-down approach to problem-solving.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
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