A Quote by Steve Buscemi

I'm terrible at story and structure, but I'm not so bad at writing dialogue. — © Steve Buscemi
I'm terrible at story and structure, but I'm not so bad at writing dialogue.
I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
It's writing songs within the structure of telling a story, so it becomes a platform for diverse songwriting, for a writing process that's broader than just figuring out a song. You're also dealing with always pushing the story forward, with casting the voices, with the orchestration, with the arrangements.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
At its best, writing is a dialogue. It's one of the things I love about children's: the fact that this dialogue is really there from the get-go, from the start of writing.
I like the story writing process. I usually use someone who has been trained for structure to take the story that I actually want, place those elements in the right places.
If the structure does not permit dialogue the structure must be changed
I love writing songs. One of the toughest things is structure; it just works when you use verse, chorus, verse, chorus, bridge. And as soon as you become aware of that formula, you start to have a bad conscience when you write with that particular structure.
There's something great about terrible westerns. They look like gay dancers and bad, overwrought dialogue and overacting, black and white sped up horses.
I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.
Plot is what happens in your story. Every story needs structure, just as every body needs a skeleton. It is how you 'flesh out and clothe' your structure that makes each story unique.
In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.
I recognize this in my writing process. A consistent writing structure opens the door to amazing insights. I recognize the truth of this in my daily habits. When I set my keys in the place I, with practice, always set my keys... I do not lose them. In many instances an ordered external structure can be an invitation for an extraordinarily unfettered, creative and unbounded inner structure.
You can make bad writing 'OK,' but... you really need to start with a good script and with characters that are three-dimensional and with great dialogue. It's a difficult lesson to learn because good writing is hard to come by, but it's definitely worth chasing.
I like writing dialogue - I can hear my characters so clearly that writing dialogue often feels as much like transcribing something as it does like creating it.
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