Care more than others think is wise.
Dream more than others think is practical.
Expect more than others think is possible.” —Claude Bissell
When looking at the text, the director should read each scene with an eye toward the theme and determine its direct or indirect relationship to that theme. Does it relate at the moment the scene exists in the story? Or does it have a relationship to other scenes that, when joined together, develop the theme?
One good way to look at the text and see when it follows true to form is to read the screenplay backward: from the end of the script to the beginning and *feel* how the linkage connects to the theme of the story. Does it connect through character, through plot, or through the subtleties that join the two together? This method of examination will clearly show the director the connective tissue that joins the theme to the story.” —
Myrl A. Schreibman, “The Film Director Prepares”
Excellent advice for screenwriters (and maybe for prose writers, too).
- Sister, cramming for her math test:
- "Math like this is why there is so much madness in the world. Global warming? Because of this math. Squeakquel? Because of this math. Miley Cyrus? Yes, because of this math. I will even venture so far as to say that the Swine Flu epidemic is because of this math."
Think but this, and all is mended,
That you have but slumber’d here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to ‘scape the serpent’s tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.” —Puck, A Midsummer Night’s Dream