Shane Black Quotes
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People would say, "Well yeah, if I wrote action films, if I wrote the trash that you write, I could make millions too. But I want to write my real movie about these Guatemalan immigrants, and how they hid under a truck for 300 miles." And that's fine. I'd love to make that film too, but to dismiss everything I did just because it's action seems wrong.
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I don't mind women who want to act. That's fine. It's odd that men want to act, in that there's still a degree of vanity associated with it.
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The only way you can stay on top is to remember to touch bottom and get back to basics.
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I have a shoebox: for ideas, fragments, snatches of conversation I hear. I scrawl it down, throw the scraps in the box. Every time I start a new script I start picking through the pieces. Suddenly you get five pieces together and think: this is almost the first Act of a movie, if I flesh it out a bit.
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The other thing being at UCLA was just being in California and around the movie business. Which I honestly believe, and I've told this to screenwriters, you have to do. You have to be there in order to write or direct movies.
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Once you've got a concept and a sense of themes and what it's about, then you can start to add your plot and sort of Tetris in all of the elements that you want to see, but also attach them to something that has cohesion, like a mold.
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Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.
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I think the most important thing is to, without belligerence, stand up for what want. Argue compellingly if someone tries to change your script.
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I think it's very admirable, in a superhero movie, to be able to take a few risks.
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Writing scripts is a laborious job that can be a real pain.
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I always have humour in my action movies. I think characters that make jokes under fire are more real. It somehow helps put you in their shoes.
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If you're doing something on an interesting scale that involves an entire universe of characters, one way to unite them is to have them all undergo a common experience, and there is something at Christmas that unites everybody. It already sets a stage within the stage.
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Any time anyone fires bullets in an action movie that don't hit the target it immediately undermines the movie.
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Every director should take an acting class. At least one. You know, you panic with actors. It's like, "Okay, this is back in college, I know how to talk to these guys. I know their vocabulary, and I get what they're saying back to me." So basically to learn the vernacular of acting, that's very important.
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I love the idea of a super villain that doesn't wear a cape, that doesn't wear a super suit.
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I'm ashamed to say this, but I watched every episode of 'Starsky and Hutch' as a kid. I loved that show, but now I think it's stupid - they'd have a car chase for no reason, then Paul Michael Glaser would shoot the car and it would blow up.
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I have no power, and that's what's so humbling.
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I wrote all the time, but the idea of doing it professionally seemed like pie in the sky. Who gets paid to write? I grew up in Pittsburgh, so it wasn't really a notion that a lot of people pursue.
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You have to be in California in order to write or direct movies. People say, "Oh, I'm gonna do it from Pittsburgh. I'm just gonna deliver scripts or fly out, like, once, then fly back." You have to make a full commitment. You have to actually get on a plane, come to L.A., rent a place, and live there. And that's how you forge your career. Not just sort of haphazardly. Once you've got a few hits under your belt, assuming you do, then go back and move away and correspond with the studio.
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An action film can have too much action; picture an equaliser on a stereo, with all the knobs pegged at 10. It becomes a cacophony and is, ultimately, quite boring.
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Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.
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I thought of Joel Silver. He never changes. He's sort of the unmoving, unchanging rock of Gibraltar in the otherwise-shifting world of Hollywood. He's the same as he always was. He looks the same, talks the same, has the same enthusiasm.
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I wanted at one point to act, which is a weird thing for men to want to do. It's a very vain profession. I don't mind women who want to act. That's fine. It's odd that men want to act, in that there's still a degree of vanity associated with it. It's like, "Put on some makeup, make me look good. Okay, now I'm going to roll my shoulder." Part of me still feels like, "Wow, that's weird for a man to do."
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I have these guilty pleasures, these failed films that don't work at all, but I'll watch them if they're on. Like 'The Game'.
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I owe a great deal of thanks to this man who will be gracious enough to say I've helped him with his career and comeback, but it's every bit the opposite.
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Here's what I didn't know when I was starting out that I now know…I thought when you were starting out it was really hard to write because you hadn't broken in yet, you hadn't really hit your stride yet. What I found out paradoxically is that the next script you write doesn't get easier because you wrote one before…each one gets harder by a factor of 10.
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An action movie should, like any other, follow the narrative traditions of literature. That means there should be subtlety, a slow build and a gradual bringing together of all the separate threads of the plot. To see all of it coming together slowly is very rewarding for the audience.
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You can win as long as you chose your battles. You can win more arguments then you might think as a writer, even though you legally have no recourse, and your script can get muddied and altered in any way possible. You can use reason, logic, and passion to argue persuasively for a case in your favor. So what I've learned is to just basically not buckle - not be belligerent, not be angry, not throw fits, but just not buckle.
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Directing comes closer than anything I’ve found yet to providing me with a good reason to get up in the morning that goes beyond just getting some money. Because all the money does is buy the bed. Getting out of it is the problem.
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I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story. So I think there's a middle ground that I try to strike... away from where everyone else seems ready to go, which is, setup, payoff. You know, He's afraid of water, oh, and at the end he's swimming in water - oh, my God. I hate that stuff.
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