A Quote by Peter Sis
I'm a visual person, so it always starts with a picture, and then I get obsessed with the idea, sometimes too much. I have these blank books in which I take notes, and I add postcards and other physical items.
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I often envy my friends who are visual artists. Visual artists have other things to work with. Other media. I envy my sculptor friends: they have hunks of matter. Marble. Wood. It's physical, which I find very appealing. What we have is nothing, is just glaringly blank.
I think the Internet gives too much for a young artist to compare themselves too. I'm not sure that "notes" or "likes" are what we should be aspiring to, but the Internet means something different to me because I've always been primarily interested in publishing physical books.
Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.
Pictures are the idea in visual or pictorial form; and the idea has to be legible, both in the individual picture and in the collective context - which presupposes, of course, that words are used to convey information about the idea and the context. However, none of this means that pictures function as illustrations of an idea: ultimately, they are the idea. Nor is the verbal formulation of the idea a translation of the visual: it simply bears a certain resemblance to the meaning of the idea. It is an interpretation, literally a reflection.
I take too much luggage. I'm the kind of person who can't decide whether to pack two or four pairs of trousers, so I usually take them all. I'm getting better but still inclined to take too many items, just in case I need them; I never do.
One reason we are so harried and hurried is that we make yesterday and tomorrow our business, when all that legitimately concerns us is today. If we really have too much to do, there are some items on the agenda which God did not put there. Let us submit the list to Him and ask Him to indicate which items we must delete. There is always time to do the will of God. If we are too busy to do that, we are too busy.
Where story comes from, I don't know. I know that I become obsessed with something. An idea, an image, a person, the way a person talks. And then something starts happening that I can't explain, and it has a lot to do with language.
One correspondent, who is into psychology, notes that in his experience people who are hoplophobes are nearly always nutty in other ways, too. Hoplophobia [fear of guns], of course, is not simply an attitude but rather an aberration in which the sufferer clings to an idea which he himself knows to be unsound, such as the idea that inanimate instruments have a will of their own or that lawbreakers abide by the law.
Once cyber crosses into the realm of the physical, then it's a physical attack, but it starts with cyber. And the idea of a cyber attack being able to take control of machines - that becomes a scary process.
I didn't want anyone getting close to me. I pushed people away. Built a wall around my heart to keep them out. I let one person take down the bricks, and I suppose it was a good idea, but, sometimes, he hurts me too. And it hurts so much worse then any other hurt I've felt because he is one of the very few that matter anymore.
I think the beauty of the film industry is that if another person tries to become another person or act like another person or imitate another person, they don't really get too far. When that person starts to realize who they are and what they can bring to the table, they start to blossom and grow. With that, it's not so much me looking towards my predecessors who have paved the way in the industry - it's more getting inspired. I get little bits and pieces of what I can take from any and everybody.
The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad.
...Generally people don't recomend this type of book at all. It is far too interesting. Perhaps you have had other books recomended to you. Perhaps, even, you have been given books by friends, parents, teachers, then told that these books are the type you have to read. Those books are invariably described as "important"- which in my experience, pretty much means that they're boring. (words like meaningful and thoughtful are other good clues.)
I definitely take notes, but I feel like sometimes if I take too many notes, it kind of bogs down my mind a little bit. So, I just write down stuff that I need to remember for the game.
If any man has drunk a little too deeply from the cup of physical pleasure; if he has spent too much time at his desk that should have been spent asleep; if his fine spirits have become temporarily dulled; if he finds the air too damp, the minutes too slow, and the atmosphere too heavy to withstand; if he is obsessed by a fixed idea which bars him from any freedom of thought: if he is any of these poor creatures, we say, let him be given a good pint of amber-flavored chocolate... and marvels will be performed.
A trick I picked up from reading Frank Miller scripts: ... He tended to always start his panel caps sometimes with a general noun and a verb. 'He weeps,' and then there'd be whatever else. And a couple of collaborators of mine have always said that the first sentence of my script is for them, and everything else that comes after is for me. Which is true, that's very much how I try to write. The first line is just to get the physical action down, and then I'll kind of drift off into whatever else I see in my head and they can take it or leave it.
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