I write because I can’t help but make things up.
I write because I love to tell stories.
I write because my imagination compels me to do so.
I write because if I didn’t, I’d be branded a pathological liar.
Oh, and also because I’m still trying to make my dead father proud of me.
But that’s none of your goddamn business."
"'If they made it, it's only a matter of time before I make it.' It seems like a simple and obvious thing, but I have to say, that was right before the time of Y [the Last Man] and The Hood. It was such a change in outlook where you stop being bitter and you realize that art is not a competition, that there's more than enough room for all of us. You want to give praise to the people who don't write stories like you. You want there to be as much diversity as possible."
-Brian K. Vaughan, Producer of Lost, Eisner award winning writer of comic books Y: The Last Man, Ex Machina and Runaways.
"The times I’ve pushed myself to be a better person has made me a better artist."
-Brian K. Vaughan. Producer of Lost. Eisner Award winner for comic books Ex Machina and Y: The Last Man.
"It’s training for sports, it’s analogous to anything. If you want to lose weight, there’s no magic diet you can go on. You have to eat less and do other stuff more. Writing is the same way. If you want to get better, live an interesting life. Read everything you can get your hands on. You have to write every day, seven days a week. When you have nothing to say you have to write. Eventually you’ll just get good. I think if you’re the kind of person who can write seven days a week, you’re a writer. If you’d rather play video games in your spare time, you’re something else."
-Brian K. Vaughan, again.
I stayed up last night to finish reading the screenplay for the forthcoming movie. Its the first time I’ve read a Tarantino script, and like I mentioned on The Daily Planet, I kind of collect scripts. I have The Big Lebowski, The Usual Suspects, Shane Black’s Kiss Kiss, Bang Bang and Joss Whedon’s Serenity. So, I’m taking some notes while reading this thing mostly for my own pleasure, but also to save my notes rather than losing yet another legal pad full of my illegible scrawl. So:
- There are frequent typos. The Weinsteins must not have editors for their line of books, or Little Brown doesn’t offer their own as part of the distribution deal.
- You get a great sense of the oft-mentioned “knowledge of cinema past” that is always referenced re: Tarantino. Its one thing to hear about that all the time, and see it on film, but when you actually read it, it became finally clear to me. Ref: pg. 45.
- For a nice change, every bit of dialogue is not pointless filler. To say the least, that cannot be said in Death Proof, or in the two volumes of Kill Bill. (Except, clearly, the very end of vol.2 with Bill). Every line in this script is rooted in character, and true to previous form.
- Its a gloriously fun read, and like I said before, there are frequent typos but I attribute that now less to the lack of an editor but Tarantino’s excitement. Because everyone knows he’s kind of an excitable guy.
- Very little directorial notations in this script, almost none. Considering its a piece of writing from a person intending to direct it himself you would think he would put notes to himself on how the shots would be laid down but there are hardly any in the first two acts.