A Quote by Jeff Lindsay
I do as much as I can. I even drive through the chase scenes several times to make sure the details are right.
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I used to be something of an obsessive when it came to research. When I first began writing the Thorne novels, I would drive to a set of traffic lights in the early hours of the morning to make sure you could turn left. I thought it was important to get even the most trivial details right.
I'm really bad writing the chase scenes or fighting scenes. I'm much better for writing, like, a more melancholic or tragic music.
Chase scenes normally just have to be exciting and, you know, not a lot of emotion you need to go through. It's just about getting from A to B with as much excitement as you can.
There are loopholes big enough to drive trucks through. And Congress needs to take a look at those laws and make sure that they're much more rigorous.
Don't do what we did. Make sure it's right and make sure it's what you wanna do. Make sure it's actually a good deal, that you're not going to lose out too much on it.
It means working harder to do the research but I don't really mind - I don't think I have what it takes to chase criminals through back alleys and wade through blood at crime scenes.
Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to - cinematically, several times with different elements - to see what works. I can't write a scene until I can see it.
I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional.
I think in Arabic at times, but when I'm writing it's all in English. And I don't try to make my English sound more Arabic, because it would be phony - I'm imagining Melanie Griffith trying to do a German accent in Shining Through. It just wouldn't work. But the language in my head is a specific kind of English. It's not exactly American, not exactly British. Because everything is filtered through me, through my experience. I'm Lebanese, but not that much. American, but not that much. Gay, but not that much. The only thing I'm sure of, really, is that I'm under 5'7".
Even something as complex as the eye has appeared several times; for example, in the squid, the vertebrates, and the arthropods. It's bad enough accounting for the origin of such things once, but the thought of producing them several times according to the modern synthetic theory makes my head swim
Long scenes of emotion are quite difficult - you've got to build up to them and make sure you're in the right emotional space.
The challenge for me is to make sure I've done my work. To make sure not every scene is quiet, that other scenes rise up, that there's different tension.
You can't get away, you can't escape. You'll jump through a plate-glass window several times and end up being right back in the spider's web.
When I was on Broadway when I was little, I remember always driving through Times Square with my dad to the theater. Now when I go back, you can't even drive on Broadway in the 40s. New Times Square is too touristy to me.
Both as a filmmaker and as a fan I love the behind-the-scenes stuff, I like it even more than deleted scenes frankly. Especially when you're happy with the movie and you're proud of it, those deleted scenes give you also a sense of the making of the film and the process through which you end up with the final product.
I'm trying to make sure that the visual connections between the disparate elements are strong enough for the viewer to keep moving through the work. It's in paying attention to those hundreds of details that the flow of the line will guide an audience through the narrative in a way that will make them enter it enough to engage with it, and perhaps construct their own narrative.
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