Once in a while there were things in screenwriting that taught me things for fiction. But there's nothing in screenwriting that teaches you anything for the theater. I'm not sure I've ever fully appreciated before how different a form theater is.
I have a feeling the writers who find screenwriting difficult are usually just not lazy enough for the job. They don't know how to stop before the task is done. I've always had a knack for leaving things unfinished, which makes screenwriting easier for me than most.
I had always been interested in screenwriting, ever since I could write things down as a child. Obviously, I started as an actor, professionally, but screenwriting was always something that I had a great interest in.
I think screenwriting gave me more of an affinity for plot - my first novel, 'Me and Earl and the Dying Girl,' doesn't have a very sophisticated roadmap. But screenwriting required me to learn a higher level of plottiness, and I tried to bring that to 'The Haters.'
As a writer of both novels and screenplays, I can say that screenwriting is a vastly rewarding creative life - if you fight hard enough to do it on your own terms. Whether I write books or not, my screenwriting life has been creatively rewarding and remains so.
[Screenwriting] is no more complicated than old French torture chambers, I think. It's about as simple as that.
When I first began writing, it was not in screenwriting but in poetry. That form was so evocative, all about the image and the emotion captured in a Polaroid-like smattering of words.
I came into screenwriting from an odd direction, because the first screenplay that I read was and is better as writing than the top one percent of literary novels.
In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.
Screenwriting is about condensing.
It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
Who is writing these screenwriting books? Not actually writing for the studios in Hollywood. These are people that have one or a half of a credit on maybe one movie, or none. So they're all theoretical.
Screenwriting Joe Eszterhas have always talked about the charm of evil.
The history of screenwriting - of what we do - is more than 100 years old. It's thousands of years old, going back to Sophocles and Euripedes. I believe the only - the only - separation for being a dramatist is reading drama.
People, certainly in the U.K., look down on screenwriting as an art form, but I love the discipline of it. Next to the bagginess of novel writing, it almost feels like a martial art.