A Quote by Susanne Bier
I never have particular actors planned when I'm in the process of writing.
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Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
In the writing phase, normally I try not to envisage any particular actors because I like to let the characters sort of reveal themselves in that process.
I never planned to become a choreographer. I never planned to become an actor. I never planned to be a director. It's all good will. I did nothing.
I think writing is really a process of communication. . . . It's the sense of being in contact with people who are part of a particular audience that really makes a difference to me in writing.
I have a process that I seem to always, to some degree, as a writer, adhere to, but I certainly have never imposed the way I write a novel on my students. When I had students, I never said, "You should never start writing a novel until you have the last sentence." I never did that, and I wouldn't do it now, but people now seem so interested in the process [of writing fiction] that I have to constantly make it clear when I describe mine that I'm not being prescriptive. I'm not proselytizing.
The process of writing fiction is totally unconscious. It comes from what you are learning, as you live, from within. For me, all writing is a process of discovery. We are looking for the meaning of life. No matter where you are, there are conflicts and dramas everywhere. It is the process of what it means to be a human being; how you react and are reacted upon, these inward and outer pressures. If you are writing with a direct cause in mind, you are writing propaganda. It's fatal for a fiction writer.
I can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.
I start casting early in the writing process, so I can tailor the script to the gifts of the actors.
I'm usually writing about survival. I never planned it, but it runs through all my books.
I never write with particular actors in mind.
When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.
As an actor, you see a sliver of how the show is made, but to see the actual writing process and the re-writing process and the casting process and art direction and set design - all of this is happening in a very intense period.
Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.
I’ve never agreed with the conventional wisdom that ‘actors are great liars.’ If more people understood the acting process, the goals of good actors, the conventional wisdom would be ‘actors are terrible liars,’ because only bad actors lie on the job. The good ones hate fakery and avoid manufactured emotion at all costs. Any script is enough of a lie anyway. (What experience does any actor have with flying a spacecraft? Killing someone?) What’s called for, what actors are hired for, is to bring reality to the arbitrary.
In live-action, writing, production and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
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