A Quote by Stewart Lee
Normally, when I write a tour show, it's got a title that means something - a beginning, a middle and an end - and some kind of storyline and ideas going through it over two hours.
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Man no longer lives in the beginning--he has lost the beginning. Now he finds he is in the middle, knowing neither the end nor the beginning, and yet knowing that he is in the middle, coming from the beginning and going towards the end. He sees that his life is determined by these two facets, of which he knows only that he does not know them
Film is cool because it's an hour and a half to two hours. It's a great ride. It's typically three acts - beginning, middle and end. It's going on an adventure and by the end it's all cleaned up.
I find that I end up liking songs if I really have an idea of something I wat to write about-some problem in my life or something I want to work through; if I don't have something like that at the root of the song, then I think I end up not caring about it as much. I gravitate towards some kind of concept or idea or situation that I want to write about. Very often I have to write, rewrite and come at it from an opposite angle...and I end up writing the opposite song that I thought I was going to write.
Not every story in history has a beginning, a middle and an end, but the wreck of the Titanic does. It begins when they leave, in the middle it hits an iceberg, and in the final two hours, the ship sinks.
A lot of times, somebody will say something and it will give you a good title. So you carry a pencil with you and jot that down. You don't just write a song right quick, though. You fool around and work with it. You have to keep going over and over it and see if you can't write a song that means something.
When I set out to write a screenplay, I have in my mind a beginning and an end but that end part continually changes as I start to write the middle. That way by the time the screenplay is finished I have taken myself and my audience from a familiar beginning point through the story to an unfamiliar ending point.
I find I often just fall into a stone-like sleep, right in the middle of the day, just sort of clonk. I can't work for extended periods when I'm beginning something. But if I'm at the end of something, I can work on for hours and hours and hours.
Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.
Titles either come to you at the beginning or they don't come to you at all, I find, and I hate the feeling that I haven't got a title because it usually means that you are left at the end scrambling around trying to find something.
With a film, you know the beginning, middle and end of your character's arc. But on a TV show, you have no idea where they're going to end up.
One [of the two ideas for PROOF] was to write about two sisters who are quarreling over the legacy of something left behind by their father. The other was about someone who knew that her parent had had problems of mental illness [and that] she might be going through the same thing.
That you write a phrase or you think of something and it seems to have a deeper charge because the title has to be some kind of marker, something setting out a space, creating a space for what's going to come.
Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff.
You dream to be able to have a storyline that spans hours and hours and hours but in reality, half of the people who are acting these days get like an hour and a half to portray a huge storyline. And it's just not enough.
In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.
I write two hours in the morning and two hours before bed no matter. No matter what. I also write during the day if I have to get something down, but the four hours a day is the one thing in my life I don't fool with.
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