A Quote by Susan Sarandon
I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?
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"On Script" is one of my favorite songs I've ever written. I'd just been jamming on it one day, and again I was struggling with lyrics. I'm still figuring out what it's about. I've seen a couple of reviews that are like, "It's about the monotony of playing the same songs every night," because I say, "On script every night/Like a well-rehearsed stage show." It's not about that at all, but I find that funny, how people project what they think about me, or songwriters in general.
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
When the first emperor wanted to unify the country, one of the major policies was to create one system of written signs. By force, brutal force, he eliminated all the other scripts. One script became the official script. All the others were banned. And those who used other scripts were punished severely. And then the meanings of all the characters, over the centuries, had to be kept uniform as a part of the political apparatus. So from the very beginning the written word was a powerful political tool.
If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
Definitely the script because you want to be part of an interesting story, you want your character to be a challenge, then comes the director. But essentially it's the script first and whether it's a character that you think you can do.
I think there's something strange about writing a script I've written many, many scripts - dozens and dozens of scripts - and every time I start one, I think to myself: 'why in the world do I think I know how to do this?'
Comics are expensive. Don’t make me resent the money I spend buying yours. Every single moment in your script must either move the story along or demonstrate something important about the characters — preferably both — and every panel that does neither is a sloppy waste of space.
If you're going to point out the ridiculousness of a rule, it's naïve to think that you can break it. It's the same way that rappers have embraced capitalism. Some people say they liked it better when rap was a literal protest form in the '90s. But I think it's more a form of protest today, because it's telling the story of what happens once something forbidden is within reach. I think rap is more political today when it speaks about luxury watches than it does about fighting the power.
Nobody wants to see the truth. Everybody wants to have the fantasy. When I look back at the books I was reading in my childhood were selling some sort of fantasy as well. Most stories are not going to tell the deep suffering of every day. No book prepared me for the suffering I would experience in life because the word "suffering" does not even describe what the suffering is. No story is going to tell you that, and no words can tell you that.
Why are there organized beings? Why is there something rather than nothing? Here again, I fully understand a scientist who refuses to ask it. He is welcome to tell me that the question does not make sense. Scientifically speaking, it does not. Metaphysically speaking, however, it does. Science can account for many things in the world; it may some day account for all that which the world of phenomena actually is. But why anything at all is, or exists, science knows not, precisely because it cannot even ask the question.
If I had a script that I was ready to shoot tomorrow, I'd work on it every day until we got into production as soon as possible, but I don't have that script yet, so I'm trying to find and support writers, really young writers and hopefully come across a story that I wanna tell one day.
The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.
Missing from much of the public debate is discussion of the simple fact that lurking behind every terroristic act is a specific political antecedent. That does not justify either the perpetrator or his political cause. Nonetheless, the fact is that almost all terrorist activity originates from some political conflict and is sustained by it as well.
My wife told me, "Listen, you have to do something big, beautiful story." I remember that I read The Shack script and I told her that there is a big message over here, and as a Jew, I read the script, and I didn't see anything that connects to religion. It's not about religion, it's about faith, it's about God, and I connected with it, because from my point of view, there is God in this world.
We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.
I kind of went into soap opera with 'General Hospital' in the '80s. It's like theater because every day it's a new script, which really doesn't have a beginning, middle or end like a play or a movie script. So you have to be on your toes and bring it every day. And you have to be spontaneous, which is really how I like to work.
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