Movies aren't finished, they're abandoned. And you have to make your peace with that.
David FincherRead
The thing I always say to any writer that I'm working with is: Just make sure that in any argument, EVERYONE is right. I want every single person arguing a righteous side of the argument. That makes interesting drama.
Interpretation
David Fincher emphasizes the importance of presenting multiple perspectives in storytelling to enhance drama.
In this quote, David Fincher highlights the idea that every character in a narrative should have a valid perspective in their arguments. By ensuring that each person involved in a conflict has a righteous viewpoint, the resulting drama becomes more compelling and complex, inviting the audience to understand the multifaceted nature of human conflict.
In practice
A screenwriter could use this quote in a workshop about character development.
Movies aren't finished, they're abandoned. And you have to make your peace with that.
You’ll find that the movie business is paid for by those mega movies. The movie business is paid for by Big Macs. By movies as product. Movie studios use that term “product” all the time. Product? You mean you have a lot of stories? No, we have a lot of product. You have stories.
In film, we sculpt time, we sculpt behaviour and we sculpt light.
For a number of years, I'd been around the kind of people who financed movies and the kind of people who are there to make the deals for movies. But I'd always had this naive idea that everybody wants to make movies as good as they can be, which is stupid.
Entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.
The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two.
I took a straight picture that made me look like a thirty-year-old Italian who'd kill anybody who said something against his mother.
Ballet became this escape for me. I feel like I was on my own a lot. I was searching for stability, so I was going off on my own and imagining what I thought stability was. Ballet became a way for me to cope.
The lighter the skin, the more acceptable you are. The darker the skin, the more marginalised you become. I want to demonstrate that you can produce beauty in the context of a figure that has that kind of velvety blackness. It can be done.
It's funny, but certain faces seem to go in and out of style. You look at old photographs and everybody has a certain look to them, almost as if they're related. Look at pictures from ten years later and you can see that there's a new kind of face starting to predominate, and that the old faces are fading away and vanishing, never to be seen again.
A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.
Works of art cannot save us. They can simply render us more sensitive to what needs to be repaired.
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