A Quote by David Farr

I would say what you have to do as a screenwriter is strip the book back to find the skeleton. When you've found the skeleton - that's what you trust - you reclothe. — © David Farr
I would say what you have to do as a screenwriter is strip the book back to find the skeleton. When you've found the skeleton - that's what you trust - you reclothe.
Yeah? Can you draw a skeleton riding a motorcycle with flames coming out of it? And I want a pirate hat on the skeleton. And a parrot on his shoulder. A skeleton parrot. Or maybe a ninja skeleton parrot? No, that would be overkill. But it'd be cool if the biker skeleton could be shooting some ninja throwing stars. That are on fire.
They remain dead, the people I try to resuscitate by straining to hear what they say. But the illusion is not pointless, or not quite, even if the reader knows all this better than I do. One thing a book tries to do, beneath the disguise of words and causes and clothes and grief, is show the skeleton and the skeleton dust to come. The author too, like those of whom he speaks, is dead.
You could believe that Sinbad could fight a skeleton because that's from a period in the past, a magical period. But if you had James Bond fighting a skeleton, it'd be almost comical.
I read round the subject, I make a skeleton outline, and then I start work in the relevant archives. During the marshaling of the material, I copy the material from each archive file across to the relevant chapter in the skeleton outline.
Your past is a skeleton walking one step behind you, and your future is a a skeleton walking one step in front of you. Maybe you don't wear a watch, but your skeletons do, and they always know what time it is.
I've always found the script to be more of a skeleton, the template.
Berlin is a skeleton which aches in the cold: it is my own skeleton aching. I feel in my bones the sharp ache of the frost in the girders of the overhead railway, in the iron-work of balconies, in bridges, tramlines, lamp-standards, latrines. The iron throbs and shrinks, the stone and the bricks ache dully, the plaster is numb.
'Skeleton Creek' is like nothing you've ever read before because it's a book and a movie at the same time.
What I found interesting writing a screenplay as opposed to writing a novel is not the obvious thing, which is having to pare everything down and find the kind of essence, the skeleton if you like, which can then be fleshed out by performance and cinematography.
These are things you should learn. Your past is a skeleton walking one step behind you; your future is a skeleton walking one step in front of you. Maybe you don’t wear a watch, but your skeletons do, and they always know what time it is. Now, these skeletons are made of memories, dreams, and voices. And they can trap you in the in-between, between touching and becoming. But they’re not necessarily evil, unless you let them be.
Definitions get you into that time trap, and I'm very much more process-focused. Take Lucy, for example. Lucy is famous largely because she has almost a total skeleton. The more sophisticated we get with instruments, the more we can find out. Through CT scans of her skeleton, they now think she died falling out of a tree because of the way her bones are broken. If nineteenth and twentieth century technologies can retroactively transform our bodiment, what then do the technologies we now use do?
The key to skeleton is to find the line, and I think I spend most of training figuring out where that sweet spot is.
When we were kids, we would just go walking: just walk in a direction and hope that you were gonna find a crashed alien spaceship or buried pirate's treasure or something like that. You never did. You'd find, like, a coyote skeleton, something like that. That was the most exciting thing you'd ever find.
There's something really fun about being scared, and I guess that was at least part of why I wanted to film certain scenes from my new book, 'Skeleton Creek.'
None of us is perfect. Everyone has got a skeleton in the closet that they don't want people to find out. I just let it go, with a bit of humor.
After years of buying clothes I intend to diet into, I'll say this: the skeleton in my closet has some really nice outfits.
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