Screenplay: The Foundations of Screenwriting
Quotes from the Book
In drama, the characters should determine the story. In melodrama, the story determines the characters.
I don't know how to choose work that illuminates what my life is about. I don't know what my life is about and don't examine it. My life will define itself as I live it. The movies will define themselves as I make them. As long as the theme is something I care about at the moment, it's enough for me to start work. Maybe work itself is what my life is about.
But he meant beauty in the sense of its organic connection to the material. And this is the connection that, for me, separates true stylists from decorators. The decorators are easy to recognize. That's why critics love them so.
The word ‘actress' or ‘authoress' always struck me as condescending. A doctor's a doctor, right? So I've always referred to ‘actors' and ‘writers,' regardless of their sex.
don’t know what my life is about and don’t examine it. My life will define itself as I live it. The movies will define themselves as I make them.
The basic 110-volt AC power line moves the electrons at 60 cycles. If a transformer is close to the power source (and all speakers have transformers), the 60 cycles produce an audible hum. Crackling, caused by dirt on the sound head, can also be heard.
The varying physical characteristics of the actors may also necessitate changes. Sean Connery is six feet four. Dustin Hoffman isn't.
I don’t know what my life is about and don’t examine it. My life will define itself as I live it. The movies will define themselves as I make them.
Life has a cruel way of balancing pleasure with pain. To make up for the joy of seeing Sophia Loren every morning, God punishes the director with the mix.
Dolby was in the driver’s seat. “Surround Sound” was added. Now we had three speakers behind the screen, two more on the left side of the theater, and two on the right. A closely guarded secret about all this is that you hear the correct balance only if you’re sitting in the center of the theater. On the left or right side, those speakers tend to dominate.
When I began making movies, the only crew jobs available to women were as script girls and in the editing department. As a result, I still think of movie crews as male. And in fact, they still predominantly are.
Sometimes, on particularly good takes, I’m so moved that I stop “doing” the scene and just watch in awe at the miracle of good acting. As I said earlier, that’s life up there. When it flows like that, that’s when I say “Print.
About Sidney Lumet
About the book
“Invaluable.... I am sometimes asked if there is one book a filmgoer could read to learn more about how movies are made and what to look for while watching them. This is the book.” —Roger Ebert, The New York Times Book Review
Why does a director choose a particular script? What must they do in order to keep actors fresh and truthful through take after take of a single scene? How do you stage a shootout—involving more than one hundred extras and three colliding taxis—in the heart of New York’s diamond district? What does it take to keep the studio honchos happy? From the first rehearsal to the final screening, Making Movies is a master’s take, delivered with clarity, candor, and a wealth of anecdote.
For in this book, Sidney Lumet, one of our most consistently acclaimed directors, gives us both a professional memoir and a definitive guide to the art, craft, and business of the motion pi
Book details
- First published
- 1995
- Author
- Sidney Lumet
- Genre
- Nonfiction
- Goodreads rating
- 4.29 (10k ratings)
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