A Quote by Chris Claremont
The wonder, especially about the 'New Mutants' is, they're all kids. They're all growing. They're changing, literally, from page to page in terms of character and approach, past, present, and future. As a writer, that's the most delicious thing to play with.
Related Quotes
In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
I'm not much of a preparer. I think sometimes as an actor you need to go out and learn some skills, but in terms of preparation for understanding the character, it's all on the page, and if it's not on the page, you're in trouble.
I don't believe in writer's block. Most of writer's block is having too much time on your hands. My mantra is that you can always edit a bad page; you can't edit a blank page.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
We human beings have enormous difficulty in focusing on the present; we always thinking about what we did, about how we could have done it better.... or else we think about the future, about what we're going to do.... But at this precise moment, you also realize that you can change your future by bringing the past into the present. Past and future only exist in our mind. The present moment, though, is outside of time, it's Eternity.... It isn't what you did in the past the will affect the present. It's what you do in the present that will redeem the past and thereby change the future.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
Any time I approach a scene, it's not just what's on the page - it's how the camera's going to show or not show what's on the page. It's which character are we going to align with and what music is going to be playing.
No one reads to hear someone complain about the weather or how poorly their children are behaving. You have to give the readers a reason to turn the page. As a writer you have to invite someone to turn the page. And that is a skill you have to refine. That is why you have to read. You have to read to learn what it is that makes people turn the page.
As a writer, if you have something on a page, you can start moving it around and get something you like. But if you have a blank page, it's just gonna be a blank page.
Movies are open doors, and at every door, I change character and life... I live for the present always. I accept this risk. I don't deny the past, but it's a page to turn.
Your desire or beliefs will literally be reaching back into time, teaching the nerves new tricks. Definite reorganizations in that past will occur in your present, allowing you to behave in entirely new fashions. Learned behavior therefore alters not only present and future but also past conduct.
Maisie Williams was my first choice to play Wolfsbane when I heard about the 'New Mutants' movie - but in comic books, I can keep the New Mutants adolescent for decades and have as much fun writing them at the end as I did in the beginning.
Marriage is an effort to legalize love. It is out of fear. It is thinking about the future, about the tomorrows. Man always thinks of the past and the future, and because of this constant thinking about past and future, he destroys the present. And the present is the only reality there is. One has to live in the present. The past has to die and has to be allowed to die.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
Most established comic writers have a fixed style or methodology, so what you get on page one of the first issue is about the same for the last page of the series.
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