A Quote by Samuel Ervin Beam

Sometimes I teach script writing. — © Samuel Ervin Beam
Sometimes I teach script writing.
When I read the script sometimes, it's like 'Christ! Enough!' I can't sleep at night sometimes. There's the occasional script that just hammers you, that you can't shower off.
I don't think you could teach someone to be a genius, but you can certainly teach them to not make rookie mistakes and to look at writing the way a writer looks at writing, and not just the way a reader looks at writing. There are a lot of techniques and skills that can be taught that will be helpful to anybody, no matter how gifted they are, and I think writing programs can be very good for people.
The way I sometimes approach my work, when I look at a script for the first time, is to identify what the archetypes are and what the writing is trying to do in that context.
Enlightened teachers get all sorts of assignments. Sometimes we end up in the higher astral; sometimes we end up in the realm of pure spirit; sometimes we end up in the desire realms. Sometimes we go down to the lower astral to teach, you don't really teach there, you just sort of are, because everybody is confused.
When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
I went to journalism school, so sometimes writing the script of 'Being Mary Jane' is me putting my journalism hat on.
There are those who make music and movies in a linear way: They plan them, they have a script. Of course, you have to have a script sometimes, but that alone isn't enough.
Art was always my main focus; I fell into writing by accident in the 1980s, writing magazine articles to pay for my studio. I have to put myself into the position of writing; sometimes it doesn't work, and sometimes it works great.
Sometimes, there is a long gap between the time the script was written and when it went on the floors. Being on the sets can be refreshing, as you can revive the script in some ways.
There's innocence in a young mind, say 18 or 21, writing a script. But we have to acknowledge that they have to open up to life's experiences to be able to add those layers of depth into the script.
The script is always the main preparation for me. Sometimes you have a period piece where you have to research around it, but if the writers have done their homework well enough, the information is all in the script.
The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.
Traveling is my priority, because it drives the writing, so I teach around the travel, and sometimes the travel is the teaching.
The books people are writing today, they're too long. You get a little bit of plot, and then pages and pages of Creative Writing. They teach classes in how to do this. They should teach classes in how to stop!
We teach reading, writing and math by [having students do] them. But we teach democracy by lecture.
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