And when you’re writing, are you picturing how that scene is gonna look or are you listening to how it’s gonna sound? When you look at these clips, there’s a precision with the dialogue, but there’s also a precision of the imagery. I haven’t had to stop them from going anywhere that I thought was just really a fool’s errand.
I’m gonna stop them.” Actually, I don’t have to. I’m a little bit more, “No, that’s not the most interesting way. I just really wanted to have the experience of going through the broader experience. That happened a lot with “Kill Bill.” 'Cause I wasn’t in any hurry to finish it. And rarely can you take it and cannibalize it and put in stuff that works, but it’s still an interesting process to go through. And I would write this stuff I thought was really terrific, but ultimately is not what I wanted to spend a year of my life making. Tarantino: I don’t do this that much anymore, but before I would actually follow them down that rabbit hole. I can’t film that” or “I don’t want you to go that way”? So how do you turn off the director in you who’s watching these characters go in that direction and it’s like, “That’s an interesting direction. But if I’m doing it the way I want to do it, the way I think I should be doing it, they need to be taking it over by mid-story. And I’m helping them out in the first half of the story. Doing this now long enough, I actually think if I had more control over the steering wheel, things would get done a little easier and get done a lot better and the story might be even a little bit better. Meaning your characters are gonna go where they’re gonna go. OSCARS 2013: Oscar Watch | Play-at-Home Ballot | Snubs & surprises And you trust you’ll end up at your friend’s house.
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Where I have an idea where I’m going, but it’s like when you know how to get to somebody’s house, but you don’t exactly know the exact directions but you can kinda find your way on your own. I kind of like doing it the novelistic way. There is a reason why some people would actually write something and actually want to be finished around page 120 and have an idea where you’re going.
Might not be how most screenwriters, and I’m not saying that to put down screenwriting. Now, by the way, that actually is how most writers write. And so it’s that idea, that thought process when it comes to characters, that I think I bring to my writing. And then there’s a whole other thing that could happen.
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And even, OK, the story says, “They turn left.” But if what if they turned right? What would happen then? And just because the story says you turn left, people have free will. You know, the actors that I really like are the actors that really invest in their character, invest in the backstory, invest in who that person was before the story started, maybe who that person is after the story is over. And one of the things is, even to this day, most of the adjectives I use during the writing process are adjectives actors would use, trying to get into character or taking it where a thing goes. I never took any writing classes, but I did take acting classes.
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