Travis Beacham Quotes

Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.

Learning to write comics is, in fact, so bloody difficult because it's such a weird form that it does actually make you a bit more adaptable for other forms.

Seriously, you know - I love to write. I enjoy the process; I enjoy the different processes, because writing for film and television and graphic novels is all very different. So I've never had the feeling of, 'Oh, you have to do this one thing.'

I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.

If you want to be a screenwriter, take an acting class to get a sense of what you're asking actors to do. Learning other skills will help you communicate with people and respect what they do.

I've come to find more satisfaction and enjoyment in writing screenplays over the years because that's what I do primarily now.

Writing a graphic novel is hard. It feels closer to a screen play than to a novel.

Writing a screenplay is so spare, it kind of reminded me that I really should celebrate what I can do in a book, which is description: for example, places, people, locations.

When television gets in trouble is when it forgets that it all begins with the written word.

People, certainly in the U.K., look down on screenwriting as an art form, but I love the discipline of it. Next to the bagginess of novel writing, it almost feels like a martial art.

I get asked a lot about writing for games and prose and film, and I will do some, but I can never see myself leaving comics. I love it too much.

I'm especially keen to work with good scriptwriters on stories we have developed.

You can be far more challenging, articulate and intelligent writing for television than you can writing for the cinema.

Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.

Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.

I love graphic novels - I love reading them, I enjoyed writing them, I would love to go back and do them again. I hope I'm savvy enough to do them in the right way.

When I write a screenplay - and I think this is true for a lot of people - you direct the movie. That's what writing a screenplay is.

Writing film scripts is the hardest thing in the world. A script has to go to five or six drafts, and you need the feedback of other people and to keep coming back with a fresh eye, honing it down.

I'd love to work with Aaron Sorkin on something. Just the way he writes, he has no fear in writing people that are fiercely intelligent, and I love that.

There are a lot of good stories out there, but I haven't found too many great scripts.

My sister and brother are both writers as well. We are constantly discussing story and plot lines. And I love to discuss story ideas with my husband.

So with 'There Will Be Blood,' I didn't even really feel like I was adapting a book. I was just desperate to find stuff to write.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

I like writing for movies. It's nice to be alone working on fiction in your room, and then it's nice to be in a room with a bunch of people working on a movie.

Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.