Deadpool' took seven years to get to the motion picture screen, and I use that as my measurement. That tested me and my patience more than anything I could've imagined because the screenplay was so good."
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I read a few of those books on how to write a screenplay, but, just like I told you with the school thing, once again, most of those books are written by someone who’s never written a good script. You look at the writer’s credits and they’ve written one episode of The Golden Girls or something. People who write good scripts, write scripts. They don’t write books about writing scripts.” You don’t start out writing good stuff. You start out writing crap and thinking it’s good stuff, and then gradually you get better at it. Reread, rewrite, reread, rewrite. If it still doesn’t work, throw it away. You have to remain flexible, and you must be your own critic at all times. I rewrote the ending of 'Farewell to Arms' 39 times before I was satisfied. When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done. You can always edit a bad page. You can’t edit a blank page. A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what`s behind the emotion, the meaning, all that comes later. Do not be told something is impossible. There is always a way. If you’ve got craft, you got game. If you got game, you can write your way in and out of anything. Writing is the best gig in the whole business, as far as I’m concerned. It’s the only job where you don’t have to wait for someone to tell you what to do. You just sit down and make s**t up. Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene. You become a great writer by writing lots and lots of stories, not by rewriting the same story over and over again. It wasn’t until about the fifth draft of ‘sixth sense’ that I really began to figure it out. It was then that I realized he’s dead. It took me five more drafts to execute it right. The first draft is nothing more than a starting point, so be wrong as fast as you can. Everyone who tells me they don’t have time to write, I just say, ‘One scene a night for three months, and you’ll have a movie—you can even use the weekends.’ It’s possible to be a writer if you want to be a writer, even without all the time in the world….After doing the dishes, instead of turning on the television or reading a book or going to the movies, write one scene. Whatever you do write one scene. - Bruce Joel Rubin It is better to write a bad first draft than to write no first draft at all. A structural approach to screenwriting requires patience and discipline, but the rewards are great. You might find if you spend three weeks hammering out your story, the actual screenwriting will take only a week. The most ordinary word, when put into place, suddenly acquires brilliance. That is the brilliance with which your images must shine. You can’t just ask someone who’s never met you to read your script. When you walk up to a total stranger with a 110-page screenplay in your hand, shove it at them and say, “Would you please read my script?” it’s like asking a stranger, “Hi, you don’t know me, but would you help me move this weekend?” You’re asking for five hours of somebody’s time – time to read it, to prepare notes, and the time they’ll spend with you over the phone trying to talk you off the ledge. When it comes to connecting with others who are in a position to help you, you should look at it this way: It’s an imposition to be asked for a favour, but it’s flattering to be asked for advice. Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene. Scriptwriting is the toughest part of the whole racket…the least understood and the least noticed. Once you crack the script, everything else follows. “Writing is both a pleasure and a struggle. There are times when it’s really aversive and unpleasant, and there are times when it’s wonderful and fun and magical, but that’s not the point. Writing is my job. I’m not a believer of waiting for the muse. You don’t put yourself in the mood to go to your nine-to-five job, you just go. I start in the morning and write all day. Successful writers don’t wait for the muse to fill themselves unless they’re geniuses. I’m not a genius. I’m smart, I have some talent, and I have a lot of stubbornness. I persevere. I was by no means the best writer in my class in college. I’m just the one still writing.” |
Welcome to Russell’s website. A storyteller who enjoys writing screenplays for movies. Even though the process is hard. It keeps his imagination working overtime.
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