Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.
Aaron SorkinRead
When I write something, I want the best director to direct it. And that's not going to be me. So when David Fincher comes along and wants to direct 'The Social Network,' when Bennett Miller comes along and wants to direct 'Moneyball,' or when Danny Boyle wants to direct 'Jobs'? Hallelujah. I want them directing it.
Interpretation
The quote emphasizes the importance of collaboration and recognizing the value of expertise in different fields.
In this quote, Aaron Sorkin expresses his desire for exceptional directors to bring his writings to life, highlighting his respect for the craft of directing. He acknowledges that while he is a talented writer, he understands that directing requires a unique skill set and vision, and he is grateful when accomplished directors choose to take on his projects, as this leads to a more impactful final product.
In practice
In a filmmaking workshop, to inspire teamwork among writers and directors, I might share this quote by Aaron Sorkin.
Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.
The upside of web-based journalism is that everybody gets a chance. The downside is that everybody gets a chance.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
Decisions are made by those who show up. Don't ever forget that you're a citizen of this world.
Good writers borrow from other writers. Great writers steal from them outright.
With 'The Social Network,' I got into it at first because frankly I thought there was a cool courtroom drama to be had with the intellectual properties. And then what further drew me in was that the most extraordinary social networking device ever created was created by the world's most antisocial person. I liked that story.
I began to exercise a lot of cinematic muscle with the precepts I had learned in the New York art world. Film was intriguing. I began to think of art as elitist; film was not.
I try not to think of myself in any category, and I don't ever really try to imagine myself competing with another actor. I just know I want to do the things that I would want to see, and I know the things that turn me on, whether it's on the stage, or it's a play or a film. I just kind of want to keep doing my own thing.
I can produce any instrument, any sound that I can imagine; it may be percussive to the audience, but in my mind it may be a piano, a melody, or a tuba, or a harp, or a harmonica. My mission is to allow people to hear the dance in its purity and up against any other type of sound or music.
There are moments when the body is as numinous as words, days that are the good flesh continuing. Such tenderness, those afternoons and evenings, saying blackberry, blackberry, blackberry.
Most of the time one is discouraged by the work, but now and again by some grace something stands out and invites you to work on it, to elaborate it or animate it in some way. It's a mysterious process.
For the creation of a masterwork of literature two powers must concur, the power of the man and the power of the moment, and the man is not enough without the moment.
Subscribe for the occasional hand-picked quote. No noise.