A Quote by Steven Knight
I never set out to write a script that is 'topical.'
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I never set out to write prayers at all. But there was a span of time when I didn't find it easy to pray, but, when I went to write one of the things I had to write, a prayer would come.
It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.
When I think of folk music, I think of topical songs. And I don't write topical songs.
I never set out to write literature; I set out to tell stories. And some of my work may be very raunchy and very bloodthirsty - but life, for me, is a violent thing.
I think the beauty of documentary work is that it's a mystery - you never know where it's going to lead you. You start out with some notion of it, but it's very different from a script. A script you write, you shoot against, and you know what the story is going to be. There's always the element of surprise, but the surprise comes from performance, from something that's improvised, it comes from someone who sees it inside an already determined framework. In documentary, it's never determined. It's never the same, and affords enormous possibility.
I'm a person who, when I set out to write, I write. It's just like when you set out to eat, you eat, or when you set out to sleep, you sleep. I don't do somersaults to write something. I just do it.
That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.
I would love to write a script, for sure. I write poetry and songs. But writing a script needs a lot of time and discipline.
With every script, I write a note to my collaborator that says: 'I write full script. But see it as a guide. You take us where we need to go any way you see fit. I tried to write something specifically for you. If you agree with my choices, fine. If not, you do what you have to do.'
Any topical subject, if it's Hollywood, will be a couple of years later because you've got to write it, produce it and distribute it, so automatically you're never going to be right on the cutting edge of stories.
I don't write political stuff. I'm sure I've made attempts, but I don't tend to write very topical things, either. I admire those people who do because it's a talent I don't have.
After I write a sequence, I just open the script and then sit at the piano keyboard and "play" the script. (And because I also draw and paint, sometimes I sketch out the action as well.)
Any good movie or script usually, if they're doing their job, gives the highest platform possible for an actor to leap off of, and that script was very high up there. It was a very smart, tight script. There was a lot of improv, as well, once we got to the set, but a lot of the original script was also in there.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
For me, the work begins with a rough cut of the film. I can't do much with the script. I've tried to write music to a script prior to seeing the film, but I've found it turns out to be a waste of time.
I would normally never set out to write a trilogy.
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