A Quote by Tom Stoppard

I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do. — © Tom Stoppard
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
Mostly what you remember and enjoy are the scenes you played with people. And quite often, they're the combative scenes!
With TV-writing, you write scenes and those scenes pretty much stay as they are when you come to filming them. Sometimes you might change things on the day because of the location or the actors' availability issues.
My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
Some people manage their writing by saying, 'I need to get 2,000 words written today,' others by saying, 'I will write for X hours.' Not me. I start with a plan for the book, break it down into scenes, and I know what scenes need to get written each day. If the scene takes more words than I thought, so be it.
The more screenwriting you do, the more you become aware that particular scenes aren't going to end up in the movie because they're too expensive. That has perhaps changed the way I think about writing novels, actually, because now I write expensive scenes whenever I can.
Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
How long will we show birds and bees in love scenes? The world has moved on and we should portray intimate scenes realistically.
I'm really bad writing the chase scenes or fighting scenes. I'm much better for writing, like, a more melancholic or tragic music.
Strangely, I always have a lot of cut scenes. I keep writing shorter and shorter scripts, thinking that this time, I'll get all my scenes in.
In the scenes I try to be a giver as much as possible, giving the other actor something to work with. When not in the scenes I will stand in for eye lines to help the other actor with delivery and hopefully performance.
In any movie, there are a number of scenes that get cut in an effort to keep the film from running too long. Some are of little consequence, but others are important scenes that are very painful to lose.
I often found that my favorite scene that I shoot is often one that I cut out, like in 'The Last Castle' and 'The Contender.' If you look at the deleted scenes, some of the best scenes never made it into the film.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
I write the big scenes first, that is, the scenes that carry the meaning of the book, the emotional experience.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
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