A Quote by Lisa Joy
You have to be very specific with the suggestions of how you want to show things, not just with dialogue but also place and mood. I write all of that as very vivid guidelines so directors can come in and do what they will with them.
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Of course I want the things I write to reflect well on me or anyone who might feel represented by me, but also, I'm not writing a guidebook on how to be or how my people should be seen. I'm telling very specific stories.
I am very comfortable saying what I believe I can do, being very specific about how we will do it, how we will pay for it, and having people know that I want them to hold me accountable.
I usually have a very clear idea of where I want a song to go, sometimes very specific notes, but I'm generally open to suggestions.
Most things that I write are in very specific forms. A score will have a shape and profile, and then the more emotional and intimate moments will come.
I had imagined I would come back at some point. But yeah, that was for a very specific reason. I will be very excited when I can tweet things that are just stupid puns and not be political for a while.
Very, that show is crazy. It was like doing finals every week. It was interesting. I really learned a lot. The dialogue is so technical. I was so impressed watching the other actors and how they managed, so I studied them. And I was blown away thinking: "How do they do that? How do they put that extra spin on the complicated dialogue to make it interesting?
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
I had a very misguided notion of what 'network notes' were. I thought they were well-meant suggestions, perhaps urgently meant, but just suggestions nonetheless. And actually, they're demands. You have to do them, or you will not be paid.
It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.
People have responded to the pictures I make as mystical things, and they somehow carry the illusion further thinking that the place is this mystical, magical place. The desert is also a very barren place, a very lonely place, a very boring, uneventful place.
I think I was always writing books that had very clear scenic structures. I do tend to write in scenes. I do tend to have a fair amount of dialogue. And I do tend to use stories that don't sprawl all over the place, that have a very sharp focus in terms of how they unfold in time.
I just adored Peter Medak, the director. He's such a character, but he was so much fun. Some directors come in and they truly get angry about things.Peter was still in a fantastic mood. He's a delightful person. He threw a big party at the end of the pilot, which was so sweet. And his wife is an opera singer. He's just a very warm, crazy beautiful individual.
I just feel like TV takes more risks than film. Film has gotten very safe: it's very compartmentalized about what type of things will be successful. And whereas in TV, since all these new platforms opened, they're saying to writers, go out there, write the most different show that you can write. Write something that's really original and different.
Some directors are very free and some directors are very specific. It seemed like doing a play.
When a show becomes successful, people want to hire the people on the show for other things, and we would all try to do other things, but we could never end up doing them, so casting directors were just like, 'Enough of them! Don't touch the 'Glee' kids, because you can't use them!'
The Psalms are much more than poetry. Many of them bear the title, Maskil, or teaching psalm. They are thus intended to instruct the mind as well as to encourage the heart. They are designed not only to reflect a mood, but to show us also how to handle that mood; how to escape from depression or how to balance exaltation with wisdom.
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