I always think its easier for me to write without thinking about the strict meter that's required for songs and song structures and things like that. It's much easier to just write on the page.
What I like is having a conversation that gets you on the right page. And, if that means having conversations in lieu of rehearsal - I don't wanna get up and cook the thing before we shoot it but I do wanna know that me and the director know exactly what we both want to achieve, and that we're moving in the same direction.
If they aren't real enough to surprise me, then they aren't real enough to go on the page.
Never do nothing you wouldnt want printed on the front page of The New York Times.
I think that the mourning process of the film involves discussing it, dissecting it, and at some point, you get bored with it. I'm not there yet, but I know I will be there at some point. That's the moment when I know I need to turn the page and move on and recharge my batteries.
When we read, we are doing more than delectating words on a page stories, characters, images, notions. We are communing with the mind of the author.
From a really young age, I was reading like a writer. I was reading for the deep understanding of the literature; not simply to hear the story but to understand how the author got the story on the page.
As I see it, the major requirements for a strong and able rendering are an understanding of a work's structure, voicing, and trajectory; an ability to execute the details on the page from largest to smallest; technical command, and hopefully a connection with the overall expressive impulse (though the latter is not at all necessary to give a good performance).
Perspective - Use It or Lose It. If you turned to this page, you're forgetting that what is going on around you is not reality. Think about that.
I'm afraid that surprise, shock, and regret is the fate of authors when they finally see themselves on the page.
Night-time is when I brainstorm; last thing, when the family's asleep and I'm alone, I think about the next day's writing and plan a strategy for my assault on the blank page.
In the mental disturbance and effort of writing, what sustains you is the certainty that on every page there is something left unsaid.
Tips for aspiring writers: don't be afraid of writing rubbish. It's very easy to become hypnotised by an empty page or screen. It's tempting to abandon a half-finished work because you can't make it perfect. I hereby give you permission to write things that aren't perfect, make mistakes, try things that don't work, experiment with styles you're not used to and generally throw words around. You'll learn much faster that way.
The 'EU in a Nutshell' is a miscellany of facts and anecdotes about the system which rules us. It's a book you can delve into in pursuit of a particular fact, or crack open for entertainment at virtually any page.
I am due at the page.
Sometimes in news photography and so on, the pictures are a little bit dry, and put on the page and just set in a journalistic way in front of you.
[Colin to Sugar Beth] I put my heart on every page.
I think whenever a writer is really enjoying themselves and liking what they are doing, that shows on the page.
If everything is made so obvious that it asks nothing of the readers, then after a while, their ability to respond is atrophied. And they grow up as young people unable to take anything from a printed page, or they become bored because they haven't discovered the nuances, the differences of opinion, the differences of approach between one author and another. Children can be trusted to skip what they don't like in a book. That's perfectly all right. But to have it all reduced to the supposedly twelve-year-old mind of the adult public is what I object to.
If you're a studio writer, the funny better be on the page.