It is, then, by those shadows of the hoary Past and their fantastic silhouettes on the external screen of every religion and philosophy, that we can, by checking them as we go along, and comparing them, trace out finally the body that produced them. ↗
But friends invited me to a private screening of Emmanuelle and said I'd learn a few things. But I know all the swear words. I just don't use them. So I declined. ↗
Passage of time can be mind-numbing to figure out in a screenplay. It's the easiest thing to do in prose, not just by writing 'four years later', but you can shift time in a sentence or two. ↗
That's a very odd notion because it involves seeing money up there on the screen - if something cost $5 million to make, they want to see that $5 million up there. ↗
One forgets too easily the difference between a man and his image, and that there is none between the sound of his voice on the screen and in real life. ↗
I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve. ↗
I know what the important things are in life. I know that just because I pretend to be someone else for two hours on the silver screen doesn't make me a better person than the next man. So, I mind all those things. Simple things. ↗
I think of myself as a guy who tries to write screenplays and now has tried to direct one. Anything more than that is meaningless and it gets in the way of being a real human being. ↗
