Quotes About Screenplay

The first comedy screenplay that I wrote was Animal House and I always thought I could and should be a director but no one was about to give me that opportunity on Animal House.

'Deadpool' took seven years to get to the motion picture screen, and I use that as my measurement. That tested me and my patience more than anything I could've imagined because the screenplay was so good.

The problem with the screenplay is that it's not literature, and it's not a film. It's a very weird, technical kind of blueprint that will be absolutely transformed into something else that is not that, you know? Honestly, a screenplay is no literature.

All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.

The hardest single thing you do is get the bloody screenplay right.

If I'm in the bookstore, and I see a 700-page novel, my first thought is, 'Ooh, how could you cut this down to size and make a movie out of it?'

I really just love to open a blank document and spew, whereas with a screenplay I have to be more judicious.

If I could find the right kind of property, get tied in with the right movie, I'd love to be involved, but I just find it hard to be motivated to do another screenplay right now.

The writer's job is to write the screenplay and keep the reader turning pages, not to determine how a scene or sequence should be filmed. You don't have to tell the director and cinematographer and film editor how to do their jobs. Your job is to write the screenplay, to give them enough visual information so they can bring those words on the page into life, in full 'sound and fury,' revealing strong visual and dramatic action, with clarity, insight, and emotion.

All drama is conflict. Without conflict, you have no action; without action, you have no character; without character, you have no story; and without story, you have no screenplay.

What's great about writing a screenplay is that the subtext of the scene, what is not said, can sometimes be more important that what is said. Again, dialogue serves two basic functions in the scene: Either it moves the story forward or it reveals information about the character.

The dramatic premise is what the screenplay is about; it provides the dramatic thrust that drives the story to its conclusion.

Many writers—and I read more than five hundred scripts a year—do not realize that a screenplay is a selling document. When they're writing a screenplay, they're not writing a movie. They're writing a script, material that's going to be read, not seen. And it's the reading experience that will determine whether the movie gets made or not.

If you're writing a screenplay from scratch, it involves a lot of creation.

TV writing is different than other mediums, involving the writer.

My understanding of films was just as much as any young girl who watches Bollywood films. I had no idea about the whole process of filmmaking, about dialogue writing, scripts, screenplay etc. I had probably gone to two or three film shoots in my childhood.

I like writing dialog but don't think I'd be much good at a screenplay. I once had to write a treatment for a novel of mine - a condition of its being optioned by a movie producer - and I turned out something pretty lackluster. So my inclination would be to stay out of the way of an experienced screenwriter.

For 'So Cold the River,' I'm actually working on adapting the book with Scott Silver, who was just nominated for an Oscar for 'The Fighter,' and who also wrote '8 Mile,' which I think is a terrific screenplay. The chance to work with Scott is a tremendous pleasure and I'm learning a lot.

Every so often, when I am feeling plucky, I try to write a screenplay that combines all 10 of Americans' top phobias and market it as a sleeper hit.

I love making movies and hope to write my own screenplay someday and do some producing and be behind-the-scenes as well.

Just read this fabulous screenplay. A remake of Camus's The Stranger with Meursault as a bi break-dancing punk rocker. Randy showed it to me. I loved it. Randy thinks basically unfilmable and that filming an orange rolling around a parking lot for three hours would draw a bigger audience.

I can work a lot faster when I'm writing a screenplay than when I'm writing a play because, if I'm having a problem with a scene or something, I can just be writing it in a way where there's no dialogue, or find a way to make sound do the work that I want to do or a close-up do the work that I need to do.

Nize baby, et op all de screenplay.

Spike optioned my first book, 'Now the Hell Will Start,' and he trusted me to write the screenplay, too. That was an awesome learning experience - I grew up watching Spike's movies, and here he was giving me handwritten notes about structure and dialogue. His feedback taught me so much about how to craft a cinematic narrative.