A Quote by Louis Malle
When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.
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The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
When you try to be true to the script, changes occur. A script is there to show us a certain direction. But when you actually have the actors in and you start shooting the movie, you have the actor say a line and it doesn't sound right so you change it and make it different. It's the script that gives birth to these changes and the more you try to stay true to the script, the more that happens.
I sometimes say that I don't make anything up - obviously that's not true. But I am uninterested in writers who say that everything comes out of the imagination. I would rather be in a room with someone who is telling the story of his life, which may be exaggerated and even have lies in it, but I want to hear the true story, essentially.
I used to say to my bubbe, 'Bubbe, is this story true?' And she'd say, 'Of course it's true! But it may not have happened.' What my bubbe was saying is profound: All stories are true. The truth is the journey you take through it - did it make you laugh, cry, seek and want justice? Then it's true.
Over the years, I would go to my agents, my manager, and I would say, 'Hey, there's this amazing true story about this gay English mathematician who committed suicide in the 1950s.' And they would be like, 'Please don't ever write that script. That is an unmakeable film.'
I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
This story is true. Of course, there are many lies therein and most of it did not happen, but it's all true. In that sense it is deeply religious, perhaps even biblical.
When you're making an independent feature, there are so many difficult stages. One, just writing the script is difficult on its own. Then, when you get it to a place where you're happy with it, great - but then you need to find persons who are willing to produce it, who like the script.
It's very difficult for me to look at politics with clear eyes. I'll read a story in the paper and the first thing that pops into my head is, what would my dad say about that? Then I try to break out of that and think, 'What would Said say about that,' and then it gets complicated.
I would rather sustain the penalties resulting from over-conservatism than face the consequences of error, perhaps with permanent capital loss, resulting from the adoption of "New Era" philosophy where trees really do grow to the sky.
I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.
I think the script is the key. Regardless of how great everybody else is working on a film, if you're working on a script that you don't think is great, you're not gonna be able to make a great film. Whereas if the script is great, then you can.
You can tell a true war story by the questions you ask. Somebody tells a story, let's say, and afterward you ask, 'Is it true?' and if the answer matters, you've got your answer . . . Absolute occurrence is irrelevant. A thing may happen and be a total lie; another thing may not happen and be truer than the truth.
Frankly, as much as I love to improvise, it hasn't been difficult to stick to the script on 'Mad Men.' The writing is so precise, and the story so carefully crafted, that I don't think there's room - or need - for ad libbing. I could never come up with dialogue as lovely as these writers do, anyway.
I like to let the story flesh itself out, and usually, the characters make their own decisions as things get under way. Dialogue especially seems to write itself once I'm familiar with the characters and their backgrounds.
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