A Quote by Richard E. Grant

Ensure that your script is watertight. If it's not on the page, it will never magically appear on the screen. — © Richard E. Grant
Ensure that your script is watertight. If it's not on the page, it will never magically appear on the screen.
Unlike prose writing, the strange process of writing with pictures encourages associations and recollections to accumulate literally in front of your eyes; people, places, and events appear out of nowhere. Doors open into rooms remembered from childhood, faces form into dead relatives, and distant loves appear, almost magically, on the page- all deceptively manageable, visceral, the combinations sometimes even revelatory.
When writing screenplays, it's a matter of remembering to leave off the page anything and everything that doesn't appear on the screen.
What actresses do today when they appear on the screen is what they did once upon a time for getting to appear on the screen.
For a young cartoonist, they have to get going on the web, because that's where everybody goes for their information. And it really works. If you look at a cartoon on a computer screen, it really jumps and can be quite effective. I draw cartoons now, not how it will appear in the newspaper, but how it will appear on the screen. I think most of us do. Now the challenge is to make it move and animate it in a very fast, quick way.
You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.
The one thing you know when you're shooting a script - and I've been on a lot of sets - is space is in a script, and the distance between the page and the stage is so enormous that it is unbelievable how even the brightest people can misread your intent or not see it altogether. Scripts have air in them. Scripts are supposed to leave things up to interpretation, but people can misread things enormously, so sometimes it's just a matter of wanting to put on the screen what you had in mind.
On '24,' it says on the front page of your script: 'This script is for the production staff and cast. Please don't show it to anybody else.'
Getting the right script that will work at the BO and relate to the audience is what matters. You also need a great director to bring the script to the screen in a form you envisioned it to be.
If I get a note on my script or my films, what I say to a studio executive is that, 'You know, this is the film of my legacy, and I never want to be sitting in a theater looking up on the screen and seeing something that I don't believe in.' I will never do that.
I have a horror of the blank page. I simply cannot write on a blank page or screen. Because once I do, I start to fix it, and I never get past the first sentence.
You have to design a story that might appear on the front page of the newspaper for the website. You don't have to design it in such a way that it can be self contained, that it makes sense if you never hit the front page of it.
If you read a part that you want to play, and you already know you have actors you want to work with but it's not on the page, it's not going to be on the screen. So that is the most difficult thing to do for a producer, is to get a script that attracts this kind of talent.
Never sit staring at a blank page or screen. If you find yourself stuck, write. Write about the scene you're trying to write. Writing about is easier than writing, and chances are, it will give you your way in.
My advice is to stop trying to "network" in the traditional business sense, and instead just try to build up the number and depth of your friendships, where the friendship itself is its own reward. The more diverse your set of friendships are, the more likely you'll derive both personal and business benefits from your friendship later down the road. You won't know exactly what those benefits will be, but if your friendships are genuine, those benefits will magically appear 2-3 years later down the road.
In 1996, Al Jazeera was the first TV station in the Arab world to allow Israelis to appear on the screen and express their views and address the Arab world. Before that, Arab broadcasters did not allow what was perceived as the enemy to appear on the screen.
I ensure that I read the entire script of each project that comes my way. In fact, it is the script alone that evokes my interest in any film.
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