quote by Renny Harlin

A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.

— Renny Harlin

Restlessness Screenplay quotations

Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?"

You sell a screenplay like you sell a car. If someone drives it off a cliff, that's it.

Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.

All drama is conflict. Without conflict, there is no action. Without action, there is no character. Without character, there is no story. And without story, there is no screenplay.

I did all my directing when I wrote the screenplay.

It was probably harder for a regular director. He probably had to read the script the night before shooting started.

A stage play requires very different craft from a book, fiction or otherwise, and ditto from a screenplay.

If it isn’t for the writing, we’ve got nothing.

Writers are the most important people in Hollywood. And we must never let them know it.

If a story doesn't give you a hard-on in the first couple of scenes, throw it in the goddamned garbage.

Usually, when special effects get in the way, it's because the story isn't strong enough. If you don't start with a strong screenplay, it's easy to fall back on special effects, thinking it's going to carry you. But it never works. It's just tiresome.

I just finished a novel, and I'm back kind of noodling on the screenplays.

Screenplays are tough. I am making music, I'm just not sure what kind of music it is or where it's going.

Screenplays are not works of art. They are invitations to others to collaborate on a work of art.

When I graduated college I needed to make money while I was pursuing acting, so I read screenplays and made a living writing coverage on them for studios.

I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.

This is not a screenplay. I don't do twenty drafts. I'm not going to show this to you until it's published or accepted for publication. You can make whatever suggestions you want, but I probably will ignore them entirely.

[Success] always starts with the material;

it always starts with the truth and honesty of the characters that you read in the screenplay and that's rarely something that can be remedied if it's simply not there by the time you shoot the film. Thank God we had that.

Since I worked with Danny Boyle before on Slumdog Millionaire, we have great success and everything. So, when I first got the script and the screenplay of Simon (Beaufoy) and I was reading it, even before the shoot, some kind of sounds came into my mind and I put some stuff [down] and sent it to Danny when he was cutting the movie.

I've been a professional athlete, I've directed films, I've run a company with 150 employees, and nothing compares to writing a screenplay. Just the second I think I know what I'm doing, the rug gets pulled out and I have no idea what I'm doing. Because there are so many problems to solve.

I could be just a writer very easily.

I am not a writer. I am a screenwriter, which is half a filmmaker... But it is not an art form, because screenplays are not works of art. They are invitations to others to collaborate on a work of art.

I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.

In order to avoid sentimentality and to be able to write the screenplay with the kind of humor and irony necessary to keep the story moving, I needed to distance myself as much as I could from the characters, to try to get to a point where I could view them objectively.

Most screenplays, most motion pictures, owe much more to the screenplay.

Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.

I can't imagine any director directing a screenplay of mine, because the great directors all have very personal styles, and the ones that don't are not very interesting directors.

I've always said that movies are kind of like love affairs.

Two people come together, and if they're at the right place at the right time and it's the right situation, it clicks. I've always felt that I've connected with screenplays. It's the romantic in me.

I've wanted to make a film about French youth since I went to Cannes with my first film 'Kids' in 1995 ... Scribe's screenplay is about French kids today, and the world today. Just like my films 'Kids' and 'Ken Park', this will be a movie like you have never seen before.

Writing a screenplay, for me, is like juggling.

It's like, how many balls can you get in the air at once? All those ideas have to float out there to a certain point, and then they'll crystallize into a pattern.

I did write a couple of original screenplays, but I'd rather write plays.

I've made seventeen or eighteen films now, only two of which have been original screenplays, all the others have been based on short stories or novels, and I find the long short story ideal for adaptation.

By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.

You're trying to create a screenplay and your screenplay is there to give you a structure, rigidity, situational awareness, who the characters are, what do they want, what's the shape of the thing.

I was in Los Angeles making 'Dead Again' and the producer, Lindsay Doran , asked me if I'd be interested in adapting this book, .. Austen is my favorite author and I thought, 'Well, of course, I'd be very interested, but I don't know how. I don't know where to start, A, writing a screenplay and B, sort of adapting it from a great novel.

I have always credited the writer of the original material above the title: Mario Puzo's The Godfather, Bram Stoker's Dracula, or John Grisham's The Rainmaker. I felt that I didn't have the right to Francis Coppola's anything unless I had written the story and the screenplay.

For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.

At the moment, I'm toying with a new idea for a book, but fully engaged with writing screenplays, so the book idea - which needs empty space in my head - is barely formed yet.

A screenplay is not a finished product;

a novel is. A screenplay is a blueprint for something - for a building that will most likely never be built.

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