You know, I'm gay and I grew up being aware of that at a very early age, in a fairly repressed family.
Alan BallRead
If a scene is longer than three pages, it better be for a good reason.
Interpretation
Scenes in storytelling should be concise and purposeful.
Alan Ball emphasizes the importance of brevity and intent in storytelling, suggesting that longer scenes should only exist if they serve a significant narrative or emotional purpose. This reflects a broader principle in writing and filmmaking that values the economy of storytelling, where every element should contribute meaningfully to the overall piece.
In practice
In a screenwriting class, while discussing scene structure.
You know, I'm gay and I grew up being aware of that at a very early age, in a fairly repressed family.
It's hard for me to get interested in stories that ignore death, which is what American marketing culture would like to do: pretend that death doesn't exist, that you can buy immortality; just buy these products, and you'll be forever young and happy.
Death is a companion for all of us, whether we acknowledge it or not, whether we're aware of it or not, and it's not necessarily a terrible thing.
I need to feel like the work I'm doing is not necessarily important, but meaningful, at least to me, because otherwise it just becomes a day job. It just becomes factory work and I get really frustrated.
I was conveniently bisexual for a long time, and then I went, 'Come on, who am I kidding?' And I have to say, it was the single biggest step I took toward emotional well-being, to stop feeling like I had to hide who I am.
I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.
What the really great artists do is they're entirely themselves. They're entirely themselves. They've got their own vision, they have their own way of fracturing reality, and if it's authentic and true, you will feel it in your nerve endings.
For me, cinema is a vice. I love it intimately.
I try to remember that the job - as well as the plight, and the unexpected joy - of the artist is to embrace uncertainty, to be sharpened and honed by it.
We usually evaluate creative process in terms of how much feeling or thinking was behind the work or how well the work was done. Isn't there any other way of appreciating the process? What if the standard of excellence was how fully present the artist was during the process?
Novelists embody plural selves all the time. What are characters, after all, if not other selves?
I figured as long as the music stayed hot and important and good, that there would always be a reason for 'Soul Train.'
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