Screenwriting Quotes

Outside the cinema I had not yet learned to live, but within it I had most certainly learned to die. I could die for you in every way known to man, and in a few ways known only to scriptwriters. I could see now that provided that I remained fit, the future held many more deaths yet. I could only hope that they would serve some purpose, and that perhaps a reputation may come in the same way as a coral formation, which is made up of a deposit of countless tiny corpses.

Christopher Lee

... the midpoint of each film is the moment when each protagonist embraces for the first time the quality they will need to become complete and finish their story. It's when they discover a truth about themselves.

The answer to the question, 'where's the drama?' is another question: 'what's the problem?

Billy Marshall-Stoneking

Makebelieve is a writer's best friend.

[G]reat stories communicate simple truths that reflect the poetic dimensions of the human soul. Not only do powerful characters help us understand our lives, their stories reflect our core values as human beings.

The biggest difference between writing a movie and writing a novel? No one ever tries to sleep with me to get into one of my novels.

Vulnerability is not a weakness, it strengthensone and allows one to be okay with ones emotions. Be in touch with yourself.Be yourself!

Christine Willson

people don't really want original stories. they want different versions of the same story. this is called meta-narrative.

Chester Elijah Branch

To paraphrase Muggeridge: Everything is a parable that God is speaking to us, the art of life is to get the message.

Chester Elijah Branch

All tales, then, are at some level a journey into the woods to find the missing part of us, to retrieve it and make ourselves whole. Storytelling is as simple - and complex - as that. That's the pattern. That's how we tell stories.

Everyone has their truth. Mine lies in the cinema.

Without the author there is nothing.

Michael E. Bierman

Your audience is your adversary. If you don't have one get one - imagine it. Imagine it now. To whom is your story addressed and why? Audience is always a creative act of the imagination. You can't tell your story effectively and leave it out. It must be alive in you, vividly alive. It is in conflict with everything that is false in what you have written. If it is an audience worthy of your talent and potential, it won't let you slide by the lies, the laziness, the shortcuts. If you don't take audience seriously, you can be sure it will return the favor.

Billy Marshall-Stoneking

What monster sleeps in the deep of your story? You need a monster. Without a monster there is no story.

The story writes you as much as you write it. And the process of re-writing isn't so much a quest to re-write the story as it is to re-write the writer.

Billy Marshall-Stoneking

As a screenwriter - if you are completely honest with yourself - you can’t help but admit that your greatest threat is the audience, where audience is not understood as a demographic category but as a character outside the script to whom the story is addressed. A good part of the drama necessary for uncovering the story resides in the conflict between the storyteller and his/her audience. Audience plays the part of antagonist to the writer’s role as protagonist. The writer drives the action, which is forever complicated, frustrated and undermined by the audience’s needs and sensibilities. Audience wants you to prove it. Audience has a chip on its shoulder, and doesn’t give a damn. Audience has been there and done that in the guise of your mother, your father, your ex-, your worst enemy. Audience laughs at your stupidity and dares you to change its view of you and the story world that you would have it care about. Audience is defiant. It has your number. The only way you can defeat it is by carrying a bigger stick - your only defence is an inspired offence, namely the story.

Billy Marshall-Stoneking

Nowadays films and television are what I like to call "Microwave Media". I like mine in the oven, giving the production time to simmer; get the juices flowing, and cooked to perfection. And that takes time. Slow, precious, tempered time. A script is a film's recipe. It's just a piece of paper to the novice cook, but even a recipe needs time to be perfected before it's given to the masses.

Her words dance on the page.

Storytelling is inherently dangerous. Consider a traumatic event in your life. Think about how you experienced it. Now think about how you told it to someone a year later. Now think about how you told it for the hundredth time. It's not the same thing. Most people think perspective is a good thing: you can figure out characters' arcs, you can apply a moral, you can tell it with understanding and context. But this perspective is a misrepresentation: it's a reconstruction with meaning, and as such bears little resemblance to the event.

Charlie Kaufman

Inspiring someone else to follow their dreams is the hope of anyone who has the courage to follow their own.

Vulnerability is the portal to feeling. Feeling is the portal to strength.

Walk into the unknown with what you know in your heart.

Transform into your dream.

We encounter truth within.

The personal screenplay- where you dive into the terrifying depths of your soul, unearth the most intimate details about yourself, and put it on paper for the world to see. Proceed with caution, for madness lies ahead.

If you don’t think screenwriting is a work of art, good luck in your life without a soul.

That which is cool is driven by the soul.

Intuition is truth.

When a writer's heart is filled with the music of her soul, her words sing.

Love is written by the soul.

Love is alive when there's music in your heart.

Whatever you do, let it be lovely.

Peace is when we look upon the world together.

Greatness is achieved through kindness, compassion, and love.

Comfort yields complacency. Break free.

Love awakens the soul.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars.But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all.To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want toget ahead.The truth is, you do

Brian Koppelman

It's an enormous wall that's built between you and your dreams. And if every day, you just chip away... It may take ten years, but eventually you just might see some light.

Collaborating on a film script involves two people sitting in a room separated by the silence of two minds working together.

Darlene Craviotto

All writing is discipline, but screenwriting is a drill sergeant.

I think, because…well, I like the idea of coming up with a story that never existed before, but I don’t really want to be in charge. I don’t want to be famous. I guess I like the idea of sitting in the dark and knowing that I created the thing on screen, that it’s my story, but, like, no-one else has to know it was me. Does that make sense?

If the story you're telling, is the story you're telling, you're in deep shit.

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.

ligion is the opiate of the masses." "I did masses of opiates religiously.