A Quote by Robin Furth

My job on The Gunslinger Born was to take Stephen King's novel and transform it into a detailed, seven issue, scene-by-scene story. — © Robin Furth
My job on The Gunslinger Born was to take Stephen King's novel and transform it into a detailed, seven issue, scene-by-scene story.
I suppose that, for me at least, the biggest difference betweenThe Gunslinger Born and the next two story arcs (The Long Road Home and Treachery), is that while Gunslinger Bornwas a translation of an existing novel, the next two arcs are really the stories that I've been weaving since I first started working with Steve King on the Dark Tower back in 2000/2001.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
I actually love Stephen King's writing. I mean, we, actually, at Castle Rock, we've made seven movies out of Stephen King books.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
You always have to know what the ambition of the scene is, what the purpose of that scene is in the telling of the story overall, so that you're there to support the story.
It's a lot to expect of yourself, to write a novel in a year. Anyway, you don't write a novel, you write a scene, and then another scene.
Originally, I broke the story [The Gunslinger Born] into eight comic books, but when the editors at Marvel thought we should make it more compact, I managed to cut back to seven.
Stephen King says that if you forget an idea, then it can't have been any good. He means he, not you. You are not Stephen King. Do not attempt to emulate Stephen King at home.
The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
Obviously, my life and my job in 2010 is very different from Peggy's experience in the 1960s. I exist in a world that enjoys more equality between men and women. But I don't take any of that into my performance. I just want to play the character as who she is as an individual - scene to scene.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage
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