A Quote by R. Madhavan
Any story, any screenplay can only happen if the whole unit is professionally working towards it.
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I have been working in the entertainment industry my whole life and have always endeavored to treat everyone on any set I work on respectfully and professionally.
For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.
Artists are not helper monkeys; they’re not in it to visualize 'your' story, because it stopped being 'your' story the moment you engaged in a collaborative medium. From here on in, it’s also the artist’s story, and if you’re working with an illustrator who’s any good at all, you as a writer have to tamp down any control-freak tendencies you suffer under and relax into the process.
If I get lucky and I can choose, I would always choose a really good story and screenplay, even if I don't know the director. If there's a good screenplay, there's a chance that something good is going to happen.
After all, it was only a story,' I said, determined to prove her wrong. 'All manner of terrible things may happen in a story. They may be startling at the time, but it passes. One gets caught up in the narrative, but the dangers aren't real, are they? Things happen in any way the storyteller chooses. It is all just made up.
I've always felt that the basic unit of writing fiction is the sentence, and the basic unit of the screenplay is the scene.
A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.
He had made a passionate study of education, only to come, gradually, to the knowledge that education is nothing but the process of building up, gradually, a complete unit of consciousness. And each unit of consciousness is the living unit of that great social, religious, philosophic idea towards which humankind, like an organism seeking its final form, is laboriously growing.
Preston Sturges, who wrote The Palm Beach Story, said screenplay writing is architecture. That's why it's so rare to read one that's any good.
I happen to think that as the Ukraine moves to the West, towards the E.U., eventually towards NATO, it will pave the way also for Russia moving towards the West. Because it will become a logical extension of the same process, and it will eliminate any imperial ambitions.
I look at the film without any music or sound. I try to grasp the story from the screenplay. I try to write to the novel or book if there is one. I try to create music that's honest and true to my heart for the story.
You cannot live in Los Angeles for any period of time without eventually trying to write a screenplay. It's like a flu bug that you catch ... Even the plumber has a screenplay in his truck.
No woman has ever professionally, to my knowledge, fought a man in a professionally commissioned, sanctioned fight. And it's not going to happen. I mean, I'd be amazed if that ever happened. It's not gonna happen.
It's a great role for any age. Any actress wishes they would find a screenplay that means as much to them as "Aquarius" meant to me, as a person and a citizen.
Motion is always a relative thing. I move in relation to something else. Any particle in this universe can change in relation to any other particle; but take the whole universe as one, and in relation to what can it move? There is nothing besides it. So this infinite Unit is unchangeable, immovable, absolute, and this is the Real Man.
9/11 was a gamechanger in so many terrible ways, not just for the United States and for our own national security apparatus but for the whole world. And those attacks blew apart any notion of separation between foreign and domestic threats, any notion that such attacks only happen to other people in other countries.
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