Cody Fern Quotes

Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.

A film engages you emotionally and intellectually.

The heart of the theater is the play itself, how it dramatizes life to make it meaningful entertainment. To achieve depth and universality, the playwright must subject himself to intense critique, to know human character and behavior, and finally to construct art from the most mundane of human experience.

When I saw 'Talk to Her' for the first time, I was crying out loud because I couldn't imagine that I was doing that film.

It was cinematographer George C. Williams who first told me about 'Sakhavu.' He said that the script was good and asked me to listen to it. Later, Sidhartha Siva called me and narrated the script over the phone.

I began to ask two questions while I was reading a book that excited me: not only what was going to happen next, but how is this done? How is it that these words on the page make me feel the way I'm feeling? This is the line of inquiry that I think happens in a child's mind, without him even knowing he has aspirations as a writer.

You can be moved by an animated film and not by a live action film. There could be great inspiration in and humanity in that animated story.

'Safe' was a script that I read and flipped out for.

If you only do issue-based drama, you can become a boring wanker.

A film with an untidy plot cannot grip the audience and define their emotional response.

I think that the mark of a great book is that it will meet you wherever you're at and you'll feel and experience something new and different each time you read it.

Literature could be said to be a sort of disciplined technique for arousing certain emotions.

When you read a script, you get a feeling from it.

I love drama. Drama is, like, my thing. I want a movie that will move something inside me, that's going to shift something and keep me thinking.

As a viewer, I love watching movies. There has to be an emotional connection.

Fiction works when it makes a reader feel something strongly.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

There is no better place to plot the death of a character than when you're miserable and working out.

But I loved the script to 7th Heaven and couldn't say no. It made me laugh and cry, and I was hooked. I'd love to know who turned it down, because I'm sure at least one other actor did. But I'm glad he did, whoever it was.

As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.

My life is in dialogue with the plays that I write. The relationship I have with my plays is very, very intimate, and I dot my life through them.

I opened the script to the 'The Wall,' and 15 minutes later I was done with it, and I loved the movie and wanted to be part of it.

I like making people feel things. Acting doesn't seem like lying but like storytelling.

I had a strong visceral reaction to the 'Moonlight' script, partly because I felt I knew all of these characters.

I write my books at moments of shock. I meet people in extremis and their stories are highly emotionally charged.