I think sometimes of the great symphonies that we have accepted today and that were hissed at and walked out upon when first heard.
It doesn’t draw attention to itself. But it’s there just waiting for you to discover.
The demand of immediate gratification is death for any art which takes place over time. That the audience be teased, disappointed, reassured, frightened, and finally freed is the essence of dramatic/musical form. It has to talk place over time, and it must contain reversals. And the greater the art the more upsetting, provoking, ‘dramatic’ those reversals are—it is only, and necessarily, garbage that ‘makes us feel good all the time.
The politician who addressed legitimately political interests would not last long in office.
We don’t want to hear about the design of the engine, we want to hear how smart we are.
Because inside every comedian, there’s this fantasy time bomb waiting to go off. Everything we do, all the shit we take, is fueled by a really big, humongous dream that all of the pain will be worth it when we hit it big. You don’t want to be around while that bomb is ticking away, because if I get there, I’m not going to be able to resist all the shallow rewards, And if I don’t get there—well, you really don’t want to be around for that. In fact, neither do I.
The purpose of technique is to free the unconscious. If you follow the rules ploddingly, they will allow your unconscious to be free. That’s true creativity. If not, you will be fettered by your conscious mind. Because the conscious mind always wants to be liked and wants to be interesting. The conscious mind is going to suggest the obvious, the cliche, because these things offer the security of having succeeded in the past. Only the mind that has been taken off itself and put on a task is allowed true creativity.
A good writer gets better only by learning to cut, to remove the ornamental, the descriptive, the narrative, and especially the deeply felt and meaningful. What remains? The story remains. What is the story? The story is the essential progression of incidents that occur to the hero in pursuit of his goal.
The point, as Aristotle told us, is what happens to the hero…… not what happens to the writer.
One does not have to be able to see to write such a story. One has to be about to think.
The work of the director is the work of constructing the shot list from the script. The work on the set is nothing. All you have to do on the set is stay awake, follow your plans, help the actors be simple, and keep your sense of humor. The film is directed in the making of the shot list. The work on the set is simply to recored what has been chosen to be recorded. It is the plan that makes the movie.
A movie script should be a juxtaposition of uninflected shots that tell the story.