Page Quotes
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I'm not a critic. I'm an actor. I see the role I get given on the page. I try to bring it to life as best as I can.
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I think basically lables were more interested in a Richard Page record than a Mr. Mister record.
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A lot of productivity is capturing ideas. I use a wiki - it's more valuable than e-mail for running a company - and I have a page for every person with whom I interact frequently.
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I don't have an e-reader. One reason is that I like to dog-ear the page when I find a particularly good sentence or passage.
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Poetry and lyrics are very similar. Making words bounce off a page.
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I want to be with you till my last page.
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I want the reader to turn the page and keep on turning until the end.
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Whether it is television or film, the character on the page has to speak to me.
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One thing I learned working at magazines was that if you couldn't get people to look at a page or a cover, then you were fired. It was all about how you create arresting works, and by arresting I mean stop people, even for a nano-second.
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Sometimes the characters develop almost without your knowing it. You find them doing things you hadn't planned on, and then I have to go back to page 42 and fix things. I'm not recommending it as a way to write. It's very sloppy, but it works for me.
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Occasionally it does hit me, the words on a page. And I still love doing that, as I have for the last 60 years.
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When you're young, with less on the line, it's easier to be audacious, to experiment. So I introduced the concerns of my generation - politics, sex, drugs, rock-and-roll, etc. - to the comics page, which for many years caused a rolling furor.
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I found, after the experience of making 'Shaun Of The Dead' and then returning to the blank page - because 'Shaun Of The Dead' was the first screenplay I ever wrote properly - the experience of returning to the blank page and having nothing in the drawer was intensely painful.
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"Tunisia is always ready to turn the page."
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It seems like there was a lot of not being on the same page. It's something we need to get fixed.
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The blank page gives us the right to dream.
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I've always thought that one of the least successful encounters is meeting a writer one admires. For one thing, writers are generally much kinder, more empathetic, more generous people on the page than they are in person.
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I write in a pretty straightforward way. I kind of sit down at page one and start writing.
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Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.
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I am a dreamer of words, of written words. I think I am reading; a word stops me. I leave the page. The syllables of the word begin to move around. Stressed accents begin to invert. The word abandons its meaning like an overload which is too heavy and prevents dreaming. Then words take on other meanings as if they had the right to be young. And the words wander away, looking in the nooks and crannies of vocabulary for new company, bad company.
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At first glance, you read something on the page and it can seem one way, and you can have your decisions before you wind up on set about what that set is supposed to mean, but until you're actually there doing them, there's really no way to understand it.
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The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
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A page with a poem on it is less attractive than a page with a poem on it and some tea stains.
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It has always been on the written page that the world has come into focus for me. If I can piece all these bits of memory together with the diaries and letters and the scribbled thoughts that clutter my mind and bookshelves, then maybe I can explain what happened. Maybe the worlds I have inhabited for the past seven years will assume order and logic and wholeness on paper. Maybe I can tell my story in a way that is useful to someone else.
