"You’re primarily known as a director and you just won an oscar for screenwriting. How does it feel to win as a writer?"
We did [a live read] recently of American Pie, but we reversed the gender roles. All the women played men; all the men played women. And it was so fascinating to be a part of this because, as the women took on these central roles—they had all the good lines, they had all the good laughs, all the great moments—the men who joined us to sit on stage started squirming rather uncomfortably and got really bored because they weren’t used to being the supporting cast.
It was fascinating to feel their discomfort, to discuss it with them afterwards, when they said, ‘It’s boring to play the girl role!’
And I said, ‘Yeah. Yeah. You think? Welcome to our world!’
Actor Danny Glover told the press during a stay in Paris for a seminar on film. “I couldn’t get the money here, I couldn’t get the money in Britain. I went to everybody. You wouldn’t believe the number of producers based in Europe, and in the States, that I went to,” he said. Glover’s first project as film director, is about Toussaint L’ouverture and the Haitian rebellion. The government of Venezuelan President Hugo Chavez approved nearly $30 million toward the movie. Don Cheadle, Mos Def, Wesley Snipes and Angela Bassett all agreed to do the film…if it can ever be made………………….
When I studied at Oxford, I had a bit of a breakdown, which, fortunately, turned into a breakthrough. A term is only eight weeks, and they’d do things like give you Ulysses, and give you a week to read it, digest it and write a paper on it. I remember a few weeks in I was frustrated and I hated it so much. I thought, ‘There’s no way I can do this, I cannot complete the task.’ I complained to a teacher and they told me that I had to accept failure as a starting point, and then I had to do my best from there. That was hard for me to get my head around. I like to start at the top, tick all the boxes, do extra work, do more than is asked from me. So, start at the bottom? Just to survive? That was tough.
- Emma Watson in WONDERLAND (via hermionejg)
It makes sense to me that Ron would make friends with the most famous wizard in the school because I think life presents to you over and over again your biggest and most painful fear — until you conquer it. It just keeps coming up.
- Emma Watson in her interview with J.K. Rowling for WONDERLAND (via hermionejg)
When I heard I was getting a Diversity Award, I was really, truly, profoundly honored. I began to get calls and I was asked to comment on the award. Asked how good I felt about the award. Asked if it made me feel like I was doing the right thing. Asked if it had been a struggle making diversity happen on my cast and crews. While I’m still really and truly profoundly honored to receive this award, I was also a little pissed off. [And] so was Betsy. So over many, many, many bottles of wine we discussed this.
We’re a little pissed off because there still needs to be an award. Like, there’s such a lack of people hiring women and minorities that when someone does it on a regular basis, they are given an award… It’s not because of a lack of talent. It’s because of a lack of access. People hire who they know. If it’s been a white boys club for 70 years, that’s a lot of white boys hiring one another. And I don’t believe that that happens out of any specific racism or sexism or prejudice. People hire their friends. They hire who they know. It’s comfortable. You want to be successful, you don’t want to take any chances, you don’t want to rock the boat by hiring people of color because, well, look at us. Both Betsy and I like the world that we work in to look like the world that we live in. Different voices make for different visions. Different visions make for something original. Original is what the public is starving for.
- Shonda Rhimes, creator of Grey’s Anatomy, Private Practice, and Scandal. - via Cosmo (via brains-in-a-vat)
All drama is conflict. Without conflict, you have no action; without action, you have no character; without character, you have no story; and without story, you have no screenplay.
Syd Field, “Screenplay: The Foundations of Screenwriting”
Or like I like to call it, “The Jedi Code of Screenwriting”
EVERYONE NEEDS TO READ THIS! THIS IS SUPER IMPORTANT!
And yes it is the jedi code of storytelling(via writerlyn)
This speech is perfect. He is one of the all-time greats. What a filmography. I will miss him so much.
No modern actor was better at making you feel sympathy for fucking idiots, failures, degenerates, sad sacks and hangdogs dealt a bum hand by life, even as — no, especially when — he played them with all of their worst qualities front and center. But Philip Seymour Hoffman had a range that seemed all-encompassing, and he could breathe life into any role he took on: a famous author, a globetrotting partyboy aristocrat, a German counterintelligence agent, a charismatic cult leader, a genius who planned games of death in dystopic futures. He added heft to low-budget art films, and nuance and unpredictability to blockbuster franchises. He was a transformative performer who worked from the inside out, blessed with an emotional transparency that could be overwhelming, invigorating, compelling, devastating. And above all, Hoffman had a talent for pinpointing the humanistic even in the most horrible characters. ‘I am a writer, a doctor, a nuclear physicist, a theoretical philosopher,’ he intoned in Paul Thomas Anderson’s 2012 magnum opus The Master. ‘But, above all, I am a man. A hopelessly inquisitive man, just like you.’
I kind of want to be around him all the time because he’s a guy that cares about the things that I care about. I’m aware of the pitfalls and the seduction [in the acting profession] and so I kind of want to cling on to him because he works hard and continues to work hard and is passionate and cares about the right things and just loves the discovery and loves the struggle and loves the challenge.
- Andrew Garfield, on his ‘Death of a Salesman’ co-star, Philip Seymour Hoffman (2012)
Poe and the four conditions for happiness:
1. Life in the open air.
2. Love of another human being.
3. Freedom from all ambition.
Writers imagine that they cull stories from the world. I’m beginning to believe that vanity makes them think so. That it’s actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don’t fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.
- Arundhati Roy (via victoriousvocabulary)