Best 77 of Screenwriting quotes - MyQuotes

By Anonym 14 Sep

George Clooney

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

By Anonym 18 Sep

Richard Toscan

Plays are nearly always about the consequences of events while films are usually about the events. The what-happens-next factor is essential in film.

By Anonym 19 Sep

Billy Marshall Stoneking

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.

By Anonym 18 Sep

Chester Elijah Branch

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

By Anonym 20 Sep

Paul T. Scheuring

With prose, I know where I'm starting and I think I know where I'm going.

By Anonym 16 Sep

A. D. Posey

Is every writer's keyboard a spill magnet?

By Anonym 20 Sep

Michael E. Bierman

Without the author there is nothing.

By Anonym 18 Sep

A. D. Posey

That which is cool is driven by the soul.

By Anonym 18 Sep

A. D. Posey

Storytelling answers questions and solves mysteries.

By Anonym 16 Sep

Dawn Garcia

Everyone has their truth. Mine lies in the cinema.

By Anonym 16 Sep

A. D. Posey

Greatness is achieved through kindness, compassion, and love.

By Anonym 15 Sep

Darlene Craviotto

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

By Anonym 17 Sep

Solange Nicole

Makebelieve is a writer's best friend.

By Anonym 13 Sep

Asghar Farhadi

I see screenwriting as a bit like a math equation which I have to solve.

By Anonym 18 Sep

A. D. Posey

Screenwriting is like poker; in the end, you have to go all in.

By Anonym 17 Sep

Jenny Trout

One of the worst parts about working in entertainment is that there’s so much you’re expected to have seen. Oh, you’re a screenwriter? You’ve seen the new Batman, then, right? I’m watching this show on Amazon, right now, and oh my god, it’s so good—but I’m sure you’ve already seen it. The reality is, I’m usually so busy on my own work, I rarely have time to see anything that isn’t required for some kind of voting.

By Anonym 20 Sep

A. D. Posey

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

By Anonym 18 Sep

Quentin Tarantino

Shit, you shoot me in a dream, you better wake up and apologize.

By Anonym 20 Sep

Billy Marshall Stoneking

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.

By Anonym 15 Sep

A. D. Posey

Comfort yields complacency. Break free.

By Anonym 17 Sep

Gerard De Marigny

Of all the most devastating sounds in the universe, silence is the most powerful.

By Anonym 19 Sep

A. D. Posey

There is magic in the old and magic in the new; the trick is to successfully combine the two.

By Anonym 18 Sep

Mylo Carbia

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.

By Anonym 19 Sep

Brian Koppelman

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 to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

By Anonym 17 Sep

Solange Nicole

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.

By Anonym 16 Sep

Jimmy Sangster

Do you want it good or Tuesday?

By Anonym 15 Sep

John Yorke

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.

By Anonym 18 Sep

Dave Barry

Simply by eliminating description, the screenwriter can work his way through the entire plot in a single morning, leaving the afternoon free for screenwriter leisure activities such as drugs.

By Anonym 19 Sep

Billy Marshall

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

By Anonym 19 Sep

Christine Willson

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

By Anonym 18 Sep

A. D. Posey

Peace is when we look upon the world together.

By Anonym 18 Sep

A. D. Posey

Screenwriting is made of brevity.

By Anonym 19 Sep

A. D. Posey

Whatever you do, let it be lovely.

By Anonym 19 Sep

A. D. Posey

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

By Anonym 19 Sep

Paul T. Scheuring

There's a story you write, there's a story you shoot and there's a story you cut.

By Anonym 20 Sep

John Crowley

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.

By Anonym 19 Sep

A. D. Posey

Transform into your dream.

By Anonym 19 Sep

Billy Marshall Stoneking

There are far too many screenwriters who have made themselves honorary “secret” members of the Audience Protection Society (APS). Of course, they’re easy to spot, which makes their membership in this group anything but secret. They write as if they are duty bound to protect their readers from the nastiness of ruthless drama. The way they see it, if they’re going to go to the trouble of creating loveable and attractive characters why throw them to blood-thirsty apes, or have them face a fate worse than death? They tell themselves that such actions would offend their audience’s sensibilities, but really it’s their own fears and prejudices they can’t cope with, not to mention those nagging insecurities concerning their ability to write credible characters in the grip of extreme emotion. They’d rather be dead than write cheese.

By Anonym 15 Sep

Paul T. Scheuring

As a writer, you're the guy in the box. You're creating and you have these euphorias.

By Anonym 16 Sep

Melissa Keil

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?

By Anonym 19 Sep

Chester Elijiah Branch

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

By Anonym 16 Sep

Carrie Fisher

Karl Marx: "Religion is the opiate of the masses." Carrie Fisher: "I did masses of opiates religiously.

By Anonym 20 Sep

Jt Sanz

Work on your craft, whatever your medium. Determination is your illusion headway toward reality.

By Anonym 17 Sep

A. D. Posey

Love is written by the soul.

By Anonym 20 Sep

Ana Claudia Antunes

Why does Kubrick always chill our blood, and make us huddled up scared stiff with eyes wide shut? Because even dead he's still "Shinnying" with his old hand and his eye-catching plots.

By Anonym 18 Sep

Billy Marshall Stoneking

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