A Quote by Ziad Doueiri
Nine months after we submitted the original screenplay for 'The Attack,' the studio that was involved pulled out. I've been told that 'you don't write in a French way; you can't make these multicultural films.'
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Everything has been for the [President] election for the last couple of months. Since the Democratic National Convention, it's been a dead run to get out as much content as possible and do as much as possible. Then, I go back to writing the screenplay I was working on, which is an original piece - a period piece that I will hopefully finish a couple of months after that, and hopefully I can convince some unsuspecting fool studio to buy.
We now live in a world both in film and television where everything is based on something. You point out, "Star Wars" was an original screenplay, "Raiders of the Lost Ark," an original screenplay, "Ghostbusters" an original screenplay, "Back to the Future." All these things that people love were original ideas many years ago.
I want to have more original-screenplay Oscars than anybody who's ever lived! So much, I want to have so many that - four is enough. And do it within ten films, all right, so that when I die, they rename the original-screenplay Oscar 'the Quentin.' And everybody's down with that.
After having been confined to a television series - and it's a luxury job - where you can't play anything but one particular character for nine months out of the year, it will make you insane. It didn't affect me. I got out quick enough.
I've been a professional athlete, I've directed films, I've run a company with 150 employees, and nothing compares to writing a screenplay. Just the second I think I know what I'm doing, the rug gets pulled out and I have no idea what I'm doing. Because there are so many problems to solve.
People don't realize I make records eight or nine months before they come out. I'm directing the videos; I have a lot of work to do. I'm very involved in all that stuff creatively.
I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.
What most of us must be involved in--whether we teach or write, make films, write films, direct films, play music, act, whatever we do--has to not only make people feel good and inspired and at one with other people around them, but also has to educate a new generation to do this very modest thing: change the world.
The time came where I was able to write an original screenplay [Allied], and it would be read and noticed. I had a meeting with Brad [Pitt], just around the time that he was making World War Z. I basically told him the story and said, "This is what I want to do," and he really responded, so that helped me put the thing together and write it.
Even in literature and art, no man who bothers about originality will ever be original: whereas if you simply try to tell the truth (without caring twopence how often it has been told before) you will, nine times out of ten, become original without ever having noticed it.
Studio films are really fun. You have months and months to shoot. With the smaller films you get to be on a much more intimate set and have to get things done quickly.
Today, 9 May, exactly forty-nine months and three days after the Fascist attack on Yugoslavia, the most powerful aggressive force in Europe, Germany, has capitulated.
Then in college, besides economics, I also majored in studio art and got involved in photography and making short films and acting. But I didn't know you could make a living that way.
When I set out to write a screenplay, I have in my mind a beginning and an end but that end part continually changes as I start to write the middle. That way by the time the screenplay is finished I have taken myself and my audience from a familiar beginning point through the story to an unfamiliar ending point.
A lot of my books have been that way. My World War II thriller about Sarin gas [Black Cross] was published two months before the Sarin attack in the Japanese subway. There are very weird coincidences out there. And I do have one surefire plot I have not and probably never will write, because of my fear someone will carry it out.
The technology involved in making anything invisible is so infinitely complex that nine hundred and ninety-nine billion, nine hundred and ninety-nine million, nine hundred and ninety-nine thousand, nine hundred and ninety-nine times out of a trillion it is much simpler and more effective just to take the thing away and do without it.
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