A Quote by Tobin Bell
There are a lot of considerations that come into play when you craft one of these 'Saw' scripts, and there's only so much you can put into them.
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A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
When I write my scripts, there's a point at which if I'm not starting to see them visually, I feel like I'm kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read - I kind of weigh them down.
We translated the script together with them. And during the process of translation, they rewrote the scripts. They put a lot into it. They made it their own. There are names of plants or chants or certain rites and everything that you cannot come across it in a movie. You know, you cannot learn about them casually. So the film doesn't have value in the ethnographical, anthropological. It's fiction.
Those individuals who give moral considerations a much greater weight than considerations of expediency represent a comparatively small minority, five percent of the people perhaps. But, In spite of their numerical inferiority, they play a major role in our society because theirs is the voice of the conscience of society.
I have a lot of scripts that come my way, and some of them take a bit longer to read than others. There are a lot of things that I have to pass on because I'm just not into it, and sometimes the story is slightly forced.
I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.
We swung over the hills and over the town and back again, and I saw how a man can be master of a craft, and how a craft can be master of an element. I saw the alchemy of perspective reduce my world, and all my other life, to grains in a cup. I learned to watch, to put my trust in other hands than mine. And I learned to wander. I learned what every dreaming child needs to know -- that no horizon is so far that you cannot get above it or beyond it.
Merlin really taught me how to concentrate, that you play each play as if it were the only play. And if you put all the plays together like that, then you'll come out on top.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
If you watch Rafael Nadal play tennis, you can only respond with amazement and great admiration. He is an incredible athlete with so much discipline, so much concentration and someone who likes to put a lot of passion into every point. Words fail to come out of me to describe his game appropriately. I've rarely seen anyone who approaches a ball with so much attention. With such passion and joy that it makes great fun to watch him. With him, you can associate everything that makes tennis so beautiful.
I didn't come from a background where I saw a lot of loving couples. All my aunts and uncles were either split up or fighting all the time. The only healthy relationships I saw were on TV.
Some of our best writers are self taught. Screenwriting is a combo of craft and art. The craft part can be taught, about how to be visual and economical with scenes. However, finally it's the individuality of the writer that will come into play.
Of course, you can't teach songwriting. You can only encourage people to do it and help them to sort out for themselves what they want to achieve, and get a list of exercises together that improves the craft and gives them more access to the craft of writing good songs.
The competition, the naysayers, the owners who talk too much. The people who don't think a 36-year-old can do what I do. I take a lot of pride in my craft, I work really hard at my craft everyday, and I'm a true professional.
The one thing you know when you're shooting a script - and I've been on a lot of sets - is space is in a script, and the distance between the page and the stage is so enormous that it is unbelievable how even the brightest people can misread your intent or not see it altogether. Scripts have air in them. Scripts are supposed to leave things up to interpretation, but people can misread things enormously, so sometimes it's just a matter of wanting to put on the screen what you had in mind.
We learned out craft. Acting is a craft and you must learn it. I see a lot of talent today in the kids but they don't know how to work. They don't know the craft of acting and you can only get that on the stage in theater. You cannot learn how to act in movies or in television.
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