A Quote by Scott Michael Foster

The writers did a great job of adapting the characters from the 'Frozen' story and implementing them into the 'Once Upon a Time' world. — © Scott Michael Foster
The writers did a great job of adapting the characters from the 'Frozen' story and implementing them into the 'Once Upon a Time' world.
I love theater, a performance and designing a visual spectacle. It is like creating a composition with clothes, which have to fit the psychology as well as the body of characters. The performance is frozen in time, the clothes have to stay reliable and help to define the story. Fashion can be much more abstract. It needs no story because the woman is the story. She supplies the text and content. Fashion for retail is the opposite of frozen, it has to change and morph constantly to stay relevant - to be the "fashion.".
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters.
The supporting characters typically carry less story/plot weight - so you can be more broad and pushed with them. Supporting characters also take up less of the film's screen time. A short is a great opportunity for supporting characters to shine.
I did a story for the Geographic on Meriwether Lewis and William Clark, and Stephen Ambrose was the writer. He said, "I've got the easiest job in the world. I just have to re-tell the story of the greatest fishing, camping, hunting, canoeing trip of all time. You, Sam, have the hardest job, which is, pretend like nothing has happened in the last 200 years.
Because [writers] Dan Weiss and David Benioff have done such a great job in adapting them, that's what we work with. It serves no purpose to anybody for actors to come onto a set with a well-thumbed copy of the source material and start querying why this or that line has been left out of the script. It's probably been left out for a good reason.
When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.
Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.
It's a director's job to tell a story and he's very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that's exactly what he did. He was observant of a world he didn't understand but he told a wonderful story.
I think one of the things the writers' festival does that is very good is that it brings writers from around the world and around the country and locally and puts them all in the one spot together, and that's what a lot of the world's great writers' festivals do.
I don't use recurring characters. I do get very interested my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.
That race was so hard and I am very happy with the result in the end. Michelin did a great job with the tyres ? the grip on the edge was unbelievable! When I opened the throttle there was so much traction it was incredible. My team has done a great job and even if we didn't win we improved again in the World Championship. It is good to be the best Michelin finisher and the first Honda home as well. I'm confident in Malaysia that we can take revenge on Bridgestone! They did a great job and Loris rode very hard ? congratulations to them. A good battle to watch for the fans I think.
Don't let your characters tell you what to do. They can be pushy. Some writers say that they create characters and then just sort of follow them around through the narrative. I think that these writers are out of their minds.
I like Twitter more than Facebook. Twitter is a great way to deliver and get news. In news writing less is more and 140 characters is great. If you can't grab that headline in 140 characters than it's not a story. Viewers tweet all the time and they tell what stories they like and don't like. It's great to interact with them and get that instant feedback. It's great for the viewer and the journalist.
Usually, in theatre, you're adapting existing material or creating an entirely new play. With the 'Cursed Child,' we have been given the unique opportunity to explore some of the most cherished books and beloved characters ever written, yet work with J. K. Rowling to tell a story from that world that no one yet knows - it's exhilarating.
The interesting thing about a lot of serialized television is that it's a blessing and curse. Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.
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