Our cinema is coming of age, and people are realizing we need to tell different stories differently and in fresh manner and not just do formula stuff and serve it to the audience.
I find most 'rules' about how to write a 'good story' confining, and I enjoy writing stories that don't look like stories at all on the surface.
I want to create films that will speak to different parts of our hearts and brains, stories told from a different angle.
Peter Watts delivers-solid, inventive hard sf about the deep sea, but as we've never seen before. This moves like the wind.
'Flying Jatt' is a different and interesting script.
Immensely clever and libidinously hilarious.The most astonishing thing about Love in a Dead Language is its ingenious construction. Insofar as any printed volume can lay claim to being a multimedia work, this book earns that distinction.
I felt, if I'm going to take on some of the most overdone material, which is men and women and affairs and betrayal of friends, I had better have a new take on it. I think my films come from a desperation not to be boring.
The marvelous thing about 'Doctor Who' is that it tells stories that no one else can tell.
I sort of hate the novel when it doesn't push, restlessly, against the tradition and the traditional.
I'm always looking for a fresh perspective because it's fun to tell stories that are original and new in some way.
I don't write genre stuff in any form. I'm not interested in it. I always try to do the opposite of that.
We're trying to tell a very full story of 'Nashville' and these characters in Nashville, and I'm really hopeful that we're going to be able to do something as innovative as 'American Horror Story' and 'Friday Night Lights.' And I think so far, we're on the right path for that.
I feel SF is going through an experimental phase right now.
If you can take it to the next level and really tell an interesting story in a unique and fresh way, then I feel like that's a great song.
What I thought was so great about Rise [of the Planet of the Apes ] was that it wasn't a retelling; it was an entering of the universe at a different point. So it's Planet of the Apes. We already know the ending. There's no mystery in that! It becomes Planet of the Apes. So it's not about what is at the end; it's about how did we get there? And that enabled something that was totally fresh, which was an ape-point-of-view movie.
By 'scientifiction' I mean the Jules Verne, H. G. Wells, and Edgar Allan Poe type of story-a charming romance intermingled with scientific fact and prophetic vision
Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.
'Banshee' was interesting because it was on cable, and it didn't have commercial breaks, so it read like a movie. Not only because of that, but it was a pretty interesting style, and I hadn't read a show like this.
After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it's like cinema is stuck in the birth canal.
I love playing with the conventions of fantasy, and breaking rules, and crossing lines.
I would say that Pixar is doing for animation what Chaplin did for film, infusing it with heart and characters that you care about and stories that you lose yourself in. They are similar revolutionaries and changing a medium.
What first attracted me to doing Swiss Army Man was just how mental it was - how insane and wonderful and original the script was.
Though finally overwhelmed by a preening lassitude, 'Hotel' is never less than fascinating, breaking into multiscreen scenarios like Mr. Figgis's 2000 experiment, 'Timecode.'
'Purampokku' was one of those rare films made just like it was narrated.
White Lines' is without a doubt one of the best, most imaginative, brilliantly bonkers scripts I've ever had a chance to work on.
