Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.
I guess what I like in my movies is where you see a character change by maybe two degrees as opposed to the traditional movie change of ninety degrees. I guess that always feels false to me in movies because that doesn't truly happen. Around me, at least in the life I live, I guess I don't see people change ninety or a hundred degrees. I see them change in very small increments. I think it's just a monitor I might have on myself as a writer to not make any false scenes.
I am always looking for that nuance, that moment of truth, and you can't really do that fast.
It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.
How do I respond to criticism? Critically. I listen to all criticism critically.
You write who you are. But you also cheat, and youwrite what you want to be. It's embarrasing to be the guy who madethe movie, knowing you're not exactly who you want to be.
I'll rebel against powers and principalities, all the time. Always, I will.
My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.
My writing has a lot to do with who I am, and what my life is like, and my relationships to people.
We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?
I have a feeling, one of those gut feelings, that I'll make pretty good movies the rest of my life.
To make a film, the final big collaborator that you have is the composer.
If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world.
I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.
I'm completely aware of the fact that I'm a control freak.
I don't get a sense of American pride. I just get a sense that everyone is here, battling the same thing - that around the world everybody's after the same thing, just some minor piece of happiness each day.
There’s a lot for screenwriters to steal from songwriters, in terms of getting to the point.
But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
No matter how many times you do it, you don't get used to the sadness - for me at least - of coming to the end of a film.
I remember being taught in school that you would underline things that you liked. I remember just underlining everything as a kid, thinking, 'This has all gotta be important!' I would just underline the whole thing!
I've never been a fan of whimsical or confusing storytelling.
You have to be a brat in order to carve out your parameters, and you have to be a monster to anyone who gets in your way. But sometimes it's difficult to know when that's necessary and when you're just being a baby, throwing your rattle from the cage.
Film school is a complete con, because the information is there if you want it.
It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.
The films that I love are very straightforward stories, like really old-fashioned stuff.
