Writing a screenplay is like writing a big puzzle, and so the hardest part, I think, is getting the story.
Generally, screenplays suck.
I know whenever it comes to be really dysfunctional and vile and base and hostile on screen, I'm good at that!
When I started making dances in the '60s, narrative dance was sort of off the radar screen. What was important at the time in the avant-garde was minimalism.
L.A. is full of screenwriters. I don't know why. On many levels, it's such a thankless occupation.
I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.
Most screen violence is tedious.
I think that the online world has actually brought books back. People are reading because they're reading the damn screen. That's more reading than people used to do.
I love film and TV, the medium of them, just because it's such a smaller screen. It's much more precise. Ideally, I'd like to do maybe a film a year of some sort and use that to work more in the theatre because theatre really is my first love.
We all were there for the readings, the screen tests, and we knew. We knew Dustin was the guy right away.
I did write a couple of original screenplays, but I'd rather write plays.
I love writing for the screen.
Chemistry is a hard thing. I don't think you can force it, and it doesn't necessarily mean that you have to have great chemistry outside of work. It's just something that sparks on screen or doesn't.
The most exciting time is when I think of an idea and how I imagine I can make it. It would be wonderful if there was a projector inside my eye that and it could just put the idea on the screen for people to see.
The scariest thing about screening a comedy... if you screen a drama, you know, there's no real way to tell in real time if people are enjoying it or not. But in a comedy, it's like, if people aren't laughing, it's sort of scary.
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