I've always felt that the basic unit of writing fiction is the sentence, and the basic unit of the screenplay is the scene.
It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
I am co-writing a screenplay now and I'm working on the rights to another story I want to do. So I plan to produce and direct. So, for me, I don't really feel that I am vulnerable to that sad baggage that comes with the business of filmmaking.
L. A. : where there's never weather, and walking is a crime. L. A. : where the streetlights and palm trees go on forever, where darkness never comes, like a deal that never goes down, a meeting that's never taken. The City of Angels: where every cockroach has a screenplay and even the winos wear roller skates. It's that kind of town.
The story [for the western genre] is everything. Whether it's a book or a screenplay, the story drives everything. And if you just go out and try to make one by putting on boots and jumping on a horse and riding off. . . If you don't have the material, the characters and the things to overcome and conflicts that give life to drama, you don't have it.
I think it started to feel like home when I stopped maintaining any pretense that I was ever going to be in the movie business. I went there like many writers - I had a screenplay deal and I would go to these meetings and it was the typical thing. And I hated it. I was not interested in writing screenplays, actually. But I kept feeling like that was what I was supposed to do. It was just this horrible cognitive dissonance.
Its much like writing a screenplay with someone else and thats how we view it, I think.
It's really hard to write a screenplay, it's nauseating. All those great writers that tried to write screenplays, they couldn't do it, most of them - John Faulkner, whoever, Aldous Huxley.
I loved the tone and the characters. They're all very different and they're all very typical for their time. When you read the screenplay you feel like meeting them and getting them off the page and on to the screen.
A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.
Getting your screenplay right is the most important thing you'll ever do on your film.
No screenplay is possible, unless you get some attachment from somebody who's going to get it made.
I think longer that you sit on a screenplay the longer you sit. I'm a firm believer that you can write the magic out of a movie, out of a screenplay. I'm not saying that the first draft is always the best draft but a lot of times the magic is in the first couple of drafts. T
One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.
I don't think screenplay writing is the same as writing - I mean, I think it's blueprinting.
I read every screenplay that was being sent to the other directors. None were being sent to me, but I was reading what others were choosing and what the best writers were writing.
Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.
I really just love to open a blank document and spew, whereas with a screenplay I have to be more judicious.
If you're trying to drop ten pages from a screenplay, it hurts like hell, but if you just put it away for a month and then take it out, you can do it just like that!
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
