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.
The essence of poetry is invention; such invention as, by producing something unexpected, surprises and delights.
To draw you must close your eyes and sing.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
I have said no to many, many Day of the Dead projects in the past, about 10 or 15, because every time I heard a take it was from someone who didn't know the celebration.
When you look back on a lifetime and think of what has been given to the world by your presence, your fugitive presence, inevitably you think of your art, whatever it may be, as the gift you have made to the world in acknowledgment of the gift you have been given, which is the life itself... That work is not an expression of the desire for praise or recognition, or prizes, but the deepest manifestation of your gratitiude for the gift of life.
For such is the fate of parody: it must never fear exaggerating. If it strikes home, it will only prefigure something that others will then do without a smile--and without a blush--in steadfast virile seriousness.
Subscribe for the occasional hand-picked quote. No noise.