A Quote by William Boyd
Writing a film - more precisely, adapting a book into a film - is basically a relentless series of compromises. The skill, the "art," is to make those compromises both artistically valid and essentially your own. . . . It has been said before but is worth reiterating: writing a novel is like swimming in the sea; writing a film is like swimming in the bath.
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Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
When you're writing, it's all up to you, and you don't have to make any compromises. And when you're directing, there's this intense pleasure you get from working with all these really talented people, and pooling the efforts towards a common goal. I like all the aspects of film-making.
Always remember, there's no point trying to be faithful to the book because film and writing are just two completely different things. Any film stands on its own, apart from whether it's based on a novel.
I'm not a writer. I think I can write short stories and poetry, but film writing, brilliant film writing, is a talent - you can't just do it like that.
When I was writing the story of 'Omerta' I was not writing it to make a film or something. But when a filmmaker like Hansal Mehta picked up my story and turned it into a film, I thought that now I can consider myself as a legitimate writer.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
Writing is a bit like swimming. You learn writing by doing it and you learn swimming by doing it. Nobody learns how to swim by reading a book about swimming and nobody learns how to write by reading a book about writing. If you want to learn how to write, write a lot and you will get better at it.
I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.
What compromises women - babies, domesticity, mediocrity - compromises writing even more.
It is very tough to make a short film. It's like writing a short story, which is tougher than writing a novel. You can't afford to faff around; you can't indulge. You have to get to the point.
Writing a poem is like having an affair, a one-night stand; a short story is a romance, a relationship; a novel is a marriage-one has to be cunning, devise compromises, and make sacrifices.
I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.
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