"The making of movies is magnificently pragmatic. As in combat, as in sex, the theoretical is all well and good if one's a commentator, but the thing itself can actually be understood only through experience. No one on any set, or in any cutting room, knows the difference (if such there is) between realism and naturalism -- they are merely "telling a story with pictures." A couple of guys in a coffee shop set out to write a gag; a couple of guys with a camera set out to film a gag; a couple of guys in an editing room set out to make sense of the trash that's been dumped on their desks. That's moviemaking in its entirety -- anything else is just "the suits." Through it all the clock is ticking: so many days and they take away the camera, so many days and the studio needs to release the print."And this:
"The dramatic experience is essentially the enjoyment of the postponement of enjoyment. The mouth waters at the prospect of a delicious meal; the palms sweat in anticipatory delight of sex. The enjoyment of the pseudodramatic entertainment has nothing to do with anticipation. It is, not only aesthetically but physiologically, akin to actual ingestion or congress.*
*Consider the difference between enjoyment and stimulation. One leaves the ballet feeling refreshed, as a promise has been fulfilled. One quits the videogame or pornographic film feeling empty and vaguely debauched -- for one has only been stimulated. The brain, here, craves a repetition of the stimulation, as with any drug. One may sit in front of the television for five hours, but after King Lear one goes home."