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Goes On Quotes

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Goes On Quotes

“Speaking as somebody who's been in the drug scene, it's not something you can go on and on doing, you know. It's like drink, or anything, you've got to come to terms with it. You know, like too much food, or too much anything. You've got to get out of it. You're left with yourself all the time, whatever you do--you know, meditation, drugs or anything. But you've got to get down to your own god and your own temple in your head.”

“Be sure the safest rule is that we should not dare to live in any scene in which we dare not die. But, once realise what the true object is in life — that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds' — but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man — and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!”

“Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to.”

“I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?”

“There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.”

“You're looking, moment by moment and scene by scene, how you can tell the most interesting story. So, we had this great short and we knew that we had a story about a boy and his dog. Because we had that pure emotional core, we could go on crazy tangents and always come back to Victor and Sparky. When I wrote in stuff like Weird Girl and the cat poop, Dutch Day and the windmill, it felt like it was part of Tim's universe.”

“What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place-this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.”

“Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.”

“I never think about Wall Street - why should I - but to go down there so often while filming 'Working Girl,' to become acquainted with this whole different world, and to find out what goes on behind the scenes is so interesting. There's so much of the city that you don't really bother to investigate. Ahh... New York.”