Top 103 Quotes & Sayings by Abi Morgan - Page 2

The notion of having your muse was not something that was built for women originally. That's not to say women don't have muses. I get muses in terms of actors or writers who inspire me, so I understand the concept.

I think there is a difference between connecting with a character and supporting and believing their policies.

If the world is in complete flux for me and life is falling apart, if I just manage to get myself in front of a computer or at my desk, it calms.

Plays are the marathon of scriptwriting. You fix on a point somewhere in the middle distance, and you start running, and you don't stop until you get to the end. The theory is that you have something you cannot not say: this is the engine that propels you through to the last page.

'Tender' is my most strongly autobiographical play.

Having worked on 'The Hour,' I now feel like I spend my whole time interrogating history.

There is an invisible aspect of being a writer; none of it is about you. It's about your work, and that's what it should be.

The world can make you very angry.

I work from about 8:30 A.M. until 7 P.M., five days a week, when I'm not sneaking off to buy another bar of chocolate.

I always felt a bit of a nerd, but my family gets me and my oddities. My kids and partner are way cooler than I am, but they let me in the room with them.

I still always think the greatest moment for me, as a writer, is when I press that button and send the first draft of the script.

Having a daughter has reawakened my sense of feminism. I want to protect her.

When you see in this country and every other part of the world the huge pay disparity - in Hollywood, in every profession in the U.K., globally - and you see what is happening to women in every country socially and culturally, you can't not be a feminist.

Chaos is my natural habitat. I write about chaotic situations and about people finding their way through the chaos, the hope that you can find your way.

I'm quite interested in doing a film about fashion. As someone with no fashion taste whatsoever, I think it would be good for me.

Stage is the place of the playwright: you're guided by great actors and directors, but it's the playwright's word on the page that counts.

Cornelia Parker has inspired a lot of my theatre work. Her art is about points of impact: it's poetic but with a strong literal story.

Now I would say I'm absolutely a feminist writer.

I'm a cheap date.

I love the South Bank: every era of architecture is there, and you can stop, look, and listen.

Plays are painful. But the very act of writing is a basic freedom denied some women. Some would call it a privilege. So what's a little pain?

I'd love to know what the future looks like.

I wrote a play for Miu Miu called 'The Moment Is the Present, That's Why It's Called a Gift.' Instead of doing a catwalk show, all the actors wore the clothes and performed a 20-minute play.

My greatest love is my children, and they have inspired me to fight and stand up for the right things.

I think, in some ways, there's a point as a television writer that 'executive producer' is the natural credit you get, and it can be a vanity title, or you can make of it what you want.

When people say to me, 'You're so prolific!' it's, like, no, I'm just hopeless with money.

There are so many actresses I want to write for. I see them, and I think, 'Why is she not playing that lead? What's happened to that actress?' I think all I can do is to write parts for women, to say, 'Keep going, keep acting, because there are parts for you. There will be those plays.'

Journalism and the news has become not only a means to debate but also to judge and deconstruct celebrity, the news story, and the emotional lives of political people.

I'm a woman, and I'm interested in writing stories from a female perspective.

To be honest, if I was going to have any kind of fantasy, be it left-wing or otherwise, it wouldn't involve Margaret Thatcher.

I had a huge interior world as a kid: I'd sit on endless wet holidays in Cornwall playing with paper dolls.

The thing I love about London is that it is filled with migrants, including myself.

All work is a process of failure. Every single thing I write, I look at it and go, 'Do better. That's not good enough. Do better.' And so, that keeps me up at night.

I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.

My parents' divorce was very difficult. Divorce is essentially incredibly painful, but it's also an essential part of life.

I don't look back. I don't look forward. I am totally now.

Writing comedy is a superpower.

I like bowling with my kids at Shoreditch House.

I think age is really changing how I write and the themes that I connect with. But there are also things I'm really intrigued about.

The process of re-writing and writing and re-writing means that you may have a brilliant phrase, but over time it distills and distorts and changes.

I find it fascinating to see other people's photos on social media but I don't upload pictures myself. I don't even know how to. I'm completely digital-phobic.

I think the great thing about theatre, and if you start in theatre, is that it does build a confidence in poetic themes and ideas.

Most of screenplay writing is deciding which voices you want to listen to and take on board.