I really like scripted dramas. My favorite show of all time would have to be 'Lost': I loved how the writers and producers were able to weave the different storylines together; and the acting in that show was incredible.
Film is not like a book; it's not a writer's baby at all. So many people have put in their talent, by that time that you feel grateful for what they've done, you don't feel possessive about it in any way.
I think that there are fiction writers for whom that works well. I could never do it. I feel as if, by the time I see that it's a poem, it's almost written in my head somewhere.
Acting is a general thing; it's not like being a primary artist like a painter or writer which stands the test of time. I don't think acting stands the test of time, but it can capture the mood of the moment ,which is in itself very exciting, but it ...
It's probably why I'm a short story writer. I tend to remember things in the past in narrative form, in story form, and I grew up around people who told stories all the time.
As a writer, I absorb stories, allow them to churn within my own head and heart - often for years - until I find a way of telling them that fits both my time and temperament.
I mean, comedy's hard. If you go back and look at the first season of 'Seinfeld,' it's a work in progress and that's what happens. It just takes time for people to figure each other out, and figure out timing, and to develop creatively with the write...
Books are not brands. Some people are very willing to see themselves as a brand, but you can't be a certain type of writer to a certain type of person all the time. It will kill you.
Once the travel guide came out and won an award, once I got an MFA in creative writing, once I sold my next novel, I finally started telling people that I was a writer. I remember how special that year felt.
One of the things the 'Tao of Travel' shows is how unforthcoming most travel writers are, how most travelers are. They don't tell you who they were traveling with, and they're not very reliable about things that happened to them.
Paul's the writer. Yeah, I wrote a little of that stuff, but that's just technically true. In spirit, and in essence of the truth, it doesn't matter. So I don't know, maybe I'm being foolish for not being technical. Yeah, I wrote a certain portion of...
Miep Gies: But even an ordinary secretary or a housewife or a teenager can, within their own small ways, turn on a small light in a dark room.
Marcus: No, that don't fly Ma. Erin Gruwell: First of all I'm not anybody's mother. Andre: No, that's not what it means. Eva: It's a sign of respect... for you.
[last lines] Young Writer: [sitting in the lobby] It was an enchanting old ruin. But I never managed to see it again.
Eddie Morra: You see that guy? That was me not so long ago. What kind of guy without a drug or alcohol problem looks this way? Only a writer.
Writer: So your story does have a happy ending. Adult Pi Patel: Well, that's up to you. The story's yours now.
Nini Legs-In-The-Air: This ending's silly. Why would the courtesan go for the penniless writer? Whoops. I mean sitar player.
Writer: My conscience wants vegetarianism to win over the world. And my subconscious is yearning for a piece of juicy meat. But what do I want?
The comedians all finished their acts with a song. They would get a certain amount of money from the song publishers and would use that money to pay the writers. None of them paid very much for their comedy material, but it all added up.
We are used to female writers who use their private lives as unmitigated material being somewhat hormonal; this somehow 'excuses' what might be seen as a highly unfeminine ability to turn their personal upsets into money.
There are three reasons for becoming a writer: the first is that you need the money; the second that you have something to say that you think the world should know; the third is that you can't think what to do with the long winter evenings.
