Quotes About Page

Confining a resume to a single page is good advice for anyone.

If the part isn't always there on the page, I've had good relationships with writers where there's an openness to bring more to the role.

I'm not a critic. I'm an actor. I see the role I get given on the page. I try to bring it to life as best as I can.

For the past few years my fans have made it very clear that they would like to read my novels and revisit my family of characters faster than I can write them. For them, I am willing to make a change to my working methods so the stories in my head can reach the page more frequently.

Lots of movies don't kind of work as well as they do on the page.

Aaranya Kaandam' is not the biography or history of a gangster but a page out of the life of a gangster. It is like a day in his life.

It's a discovery of a story when I write a book, a case of inching ahead on each page and discovering what's beyond in the darkness, beyond where you're writing.

You have to examine a scene on the page first. Then you get into the basics of acting: Who are you? Who are you talking to? How do you feel about that person?

For me, literature is a complex game, both mental and concrete, which is acted out in a physical manner on the page.

I think basically lables were more interested in a Richard Page record than a Mr. Mister record.

The happy story right now is the full page in Vanity Fair, which gives me a great deal of exposure.

When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.

But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.

You can't fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.

Film can be more of a reality than a page with words can ever be.

I don't write for an auditorium full of people. I don't write for the microphone; I write for the page.

I don't have any sense of an audience when I'm writing. I don't consider the audience. Because all I'm interested in is the problem on the page.

Ignore all advice about writing. Leave your blood on every page. Every page!

The great thing about making an ensemble show is it becomes modular. It might work on the page to cut from one scene to another, but on the screen, it's more powerful to take that second scene and move it first or move it later.

For me, if the words are good on the page, the rest of it comes from spending some time with the script, and not like you're learning lines but absorbing what the script has to offer.

Whether it is television or film, the character on the page has to speak to me.

I've always followed this page on Instagram called the Sausage Dog Hotel.

To me, the struggle is to try to make a less-well-written or less-well-rounded character and find who they are. If you really get it, and it's all on the page, then it's really just gonna pop out at you.

I usually just try to do whatever's on the page because I've done research before - including a lot of analysis - but you end up with conflicting data. To me, the script is king.