A Quote by Shane Black
I have a shoebox: for ideas, fragments, snatches of conversation I hear. I scrawl it down, throw the scraps in the box. Every time I start a new script I start picking through the pieces. Suddenly you get five pieces together and think: this is almost the first Act of a movie, if I flesh it out a bit.
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When you hear the word 'cancer,' it's as if someone took the game of Life and tossed it in the air. All the pieces go flying. The pieces land on a new board. Everything has shifted. You don't know where to start.
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
You can probably ask any actor: every time you start a new film, it's literally like your first movie. Everyone, regardless of the filmmaker being a debutant or a veteran, takes their time to settle down when you begin the shoot together. It's like all of us have moved into a new house, and we are setting up the place.
With a piece of classical music by Haydn, Mozart, or Beethoven, on first listening I'm referencing it with other pieces by them that I know. I think that most people do this - they listen to pieces through the filter of pieces they already know.
Instead of thinking that you put pieces together that will add up to a whole, I think you have to start with the premise that they're already together and you try to keep from destroying life by segmenting it, overorganizing it and dehumanizing it. You try to keep things together. The educative process must be organic, and not an assortment of unrelated methods and ideas.
The trick generally is to break programs into pieces and have those pieces be individually testable and so then when you move on to the other pieces you treat it as a black box knowing that it either works or doesn't work.
During the course of a 16-game season, everybody, in the end, is injured. It's almost as if pieces just get broken off, and you give up pieces or an appendage every year.
My favorite elements of 'Start Talkin'' were those man-on-the-street pieces. I love shooting those. I was born in Manhattan, have lived in or around New York my entire life, and I feel like I'm in my element when doing those pieces.
Tennis is a big puzzle. It's not any more physical or mental; you have to have all the pieces first, and then you have to put all the pieces together. For me, it took me time.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
With every song, all the elements have to work. First, the beat has to be great - you start there. You start with the music, and then the ideas follow. Then you start thinking of rhymes, and then you record it, and sometimes - this happens to me a lot - it doesn't come out as good as it did in my head when I first wrote it.
You must be really bad, because it is a puzzle. Creating anything is hard. It’s a cliché thing to say, but every time you start a job, you just don’t know anything. I mean, I can break something down, but ultimately I don’t know anything when I start work on a new movie. You start stabbing out, and you make a mistake, and it’s not right, and then you try again and again. The key is you have to commit. And that’s hard because you have to find what it is you are committing to.
You can't start a movie by having the attitude that the script is finished, because if you think the script is finished, your movie is finished before the first day of shooting.
When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie.
There's so many great designers. I'm a little bit of a vintage junkie when it comes to going out. I like to get unique pieces that you won't see everyone wearing, but at the same time I don't like to break the bank. I like to find great vintage pieces that you can hold on to for a long time.
Think of the imagination as a giant stone from which we carve out new ideas. As we chip away, our new ideas become more polished and refined. But if you start by editing your imagination, you start with a tiny stone.
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