Zitat des Tages über Drehbuchautor / Screenwriter:
You get to Hollywood and you are in the land of big money where they don't like to see only one screenwriter's name. It's much better if you've got four or five.
I'm a very slow screenwriter. It takes time for me to write a screenplay. Also, I feel it's not my strength.
'The Buccaneers' was an Edith Wharton novel, and she never finished it, and a screenwriter adapted it for television.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
What I want is to be the highest grossing screenwriter, or to have some other woman be the highest grossing screenwriter, instead of being number nine on the list. That's my goal.
Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.
Capra always wanted a screenwriter with him, even on the soundstage. The writer had to be there at his side.
I am happy that I'm a better novelist than a screenwriter.
My father was a screenwriter, and I kind of grew up in that world. I always had a mind for characters and dialogue, and my head was filled with that stuff, so it seemed like a good place to start.
Normally with film, it's normal for the screenwriter to never be seen again after finishing until the premiere.
Nothing, I find, has prepared me for the sight of my own characters walking about. A playwright or screenwriter must expect it; a novelist doesn't and naturally concludes that she has gone mad.
As a journalist, as a screenwriter and as a director, I'm trying to tell compelling and truthful stories.
A screenwriter heard me read from my novel 'The Wishbones' when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.
I started out my career as a screenwriter and quickly discovered that adhering to a script isn't always the best way to make a film. You have to take into consideration the nuances of the characters and what the actors bring to their roles.
Starting in '98 when I was researching 'Traffic,' I got to meet really serious people in Washington, which for a screenwriter was kind of a great gift. And I really valued these guys; I stayed in touch with them, and I find their point-of-view quite interesting.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
When I was really young I didn't know that there was such a thing as a screenwriter. I wrote stories.
But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.
When I was a screenwriter, I was doing it for mercenary reasons.
I've been a screenwriter for twenty-five years. Every one of my books have been optioned for movies and I have written a few of those screenplays.
I am a newspaper columnist and a professional screenwriter, but my real love is the novel for all the room it has for characters to come alive and breathe and face their challenges.
My father was a screenwriter, but he was also a novelist.
What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.
I want a career writing these novels that I can be proud of. And then I want one as a screenwriter.
Being a screenwriter is not enough for a full creative life.
Being a good television screenwriter requires an understanding of the way film accelerates the communication of words.
What you do is get the right director and the right screenwriter and the right cast. It's a fantastic job.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
I guess you could say I'm a model slash hotelier slash actor slash screenwriter.
If you want to be a screenwriter, take an acting class to get a sense of what you're asking actors to do. Learning other skills will help you communicate with people and respect what they do.
As a screenwriter and a half-Jew, I tend to look at the glass half-empty.
I feel that one of the fields that I need to learn a lot is screenwriting. I used to write my own screenplays, but it's just that I remember that at that time, I was saying to myself, 'I wish one day I will meet a screenwriter that will help me because I feel that I need to learn.'
There's this movie, 'Zero Dark Thirty' about the hunt for Osama bin Laden. Some have complained that too many 'secrets' were dished out by the intelligence and special operations communities to director Kathryn Bigelow, screenwriter Mark Boal and their crew, part of a broader pattern of using intelligence for political effect.
I consider my job as a screenwriter to pack a script with possibilities and ideas - to create a feast for the filmmaker to pick from.
With a novel, you're the director and the screenwriter and everything else, except that you have to write it knowing it will all be performed inside the head of the reader. So it's a difficult and lonely task.
I became a playwright and screenwriter. Italian-Americans were my particular specialty. I liked the way they talked. There was something free in it.