When I was a kid I never knew the difference between a sitcom and a drama. I just knew what my parents were watching and what was making them happy.
I am absolutely and inherently self-destructive in that I am always making sure I'm doing what I want to do.
The concept of doing holiday episodes is a huge part of what's fantastic about doing TV. And viewers agree; you see the numbers going up for holiday episodes.
Even if you're lucky to have a play on Broadway like 'Chinglish,' you don't necessarily earn enough off it to support the years it takes to get there.
All [tv] shows are like cigarettes. You watch two, you have a higher chance of watching three. They're all addictive.
Storytelling comes naturally to humans, but since we live in an unnatural world, we sometimes need a little help doing what we'd naturally do.
Don't be so hard on yourself, don't put pressure on yourself, life is just a chain of experiments and results, and you'll be perfect when you're dead.
Whereas the health of an individual depends on the ego's regular descent and return to and from the unconscious, a society's longevity depends on actual people journeying into the unknown and returning with ideas.
I wish people used wishes to modify themselves instead of others. Wish to be low maintenance. Wish to be autonomous, even.
Garry Shandling has always been a pioneer of… meta entertainment. He's always been a defender of the creative right to use the frame as part of the painting.
But novels are never about what they are about; that is, there is always deeper, or more general, significance. The author may not be aware of this till she is pretty far along with it.
Michael Arndt, that guy - you're just supposed to say nice things about other writers, but I worship Michael Arndt.
As cliched as it sounds, if you have an original voice and an original idea, then no matter what anybody says, you have to find a way to tell that story.
When I saw 'Blade Runner,' my understanding was that 'Blade Runner' and 'Alien' were sequels to each other - or they were related. They were set in the same world.
I'm going to do whatever interests me. Look, writing 'Rabbit Hole' came out of an interest in diversifying my portfolio, frankly.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.
A screenplay is really a blueprint for something that will be filmed. Therefore you must always keep in mind that whatever you write is going to be staged, for real.
It is much more fun to write about villains then heroes. The villains are the ones that think out the scheme, and the heroes just kind of come along for the ride.
If we are interested in a writing life - as opposed to a writing career - then we are in it for the process and not the product - for the body of work and not for the quick hit of one well-realised piece.
