A Quote by Martin Scorsese
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
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What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.
I have certain rules that I've established for myself that took a while post-day job to figure out. Everyone says people who freelance or are writers struggle with the structure of it. I'm not allowed to check email before a certain hour. I'm not allowed to run errands during the day. I have to write a certain amount every day.
There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations.
Listen - we party, we have fun, we live life to the fullest. But we're also professional, we also wake up every day and stay on time for our meetings and we also have a structure and a certain structure and a certain substance behind the brand. It's not just luck.
It's worth pointing out that conflicts between racially oppressed people often result from the fact that colonialism worked on divide and rule. Certain ethnic, religious, racial or indigenous groups were deliberately privileged over others in order to create a sense of investment in upholding the power structure.
There are certain scenes, certain hills and valleys and groves of pines which demand that a story shall be written about them. I would refine; I would say that the emotions aroused by these external things reverberating in the heart are indeed the story; or all that signifies the story....We translate a hill into a tale, conceive lovers to explain a brook, turn the perfect into the imperfect.
I'd be lying if I said I never think about my female fans in certain shots and certain scenes. Like, when I'm topless, I might think: 'This one is for the ladies.'
Turning the other cheek is not always the answer. In a certain situation on a certain day for a certain person, it's correct. Sometimes a good roundhouse kick on a certain day in a certain situation for a certain person is correct.
Music to me, still to this day, is this wide open landscape of potential sounds (and I have more words for it now as a grown person), but as a little kid I used to think, "oh, you can just make up melodies and sometimes when you make certain melodies it makes you feel a certain way."
You could draw certain parallels between the structure of the Pompidou and the structure of the rocket-launching facilities at Cape Canaveral. They might not have been thinking about it, but I think there is some kind of unconscious affinity there.
Things that I grew up with stay with me. You start a certain way, and then you spend your whole life trying to find a certain simplicity that you had. It's less about staying in childhood than keeping a certain spirit of seeing things in a different way.
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
At the end of the day, you're trying to make a certain film within a certain budget. Those rules never change.
And one thing that I always believed and that I knew for certain was that I could never have sustained a personal relationship while I worked this hard, or while I was that driven this intensely by the story.
If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
I have kind of an intuitive feeling as a composer as to what would be appropriate for those groups and how to feature certain paths in a certain way, whether there was dialogue in a scene, or whether there was no dialogue and music was telling the story at that point.
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