A Quote by Abi Morgan
As a writer, you're not even at the party when you work in film. At best, you're the one laying out the canapes.
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For the left-leaning, political identity is liable to be closely intertwined with personal identity. The left is collusive, if not presumptuous: should you get on well with leftists at a party, they will blithely assume that you share the same views on the invasion of Iraq, even if all you've talked about is the canapes.
I mean Filth is the best British film since Trainspotting. It might even be better. I keep watching it back to back with Trainspotting to try and work out which is the best. I can't split them.
A movie isn't a political movement, a party or even an article. It's just a film. At best it can add its voice to public outrage.
Doing a movie is like eating five hundred canapes at a cocktail party - you're never really full. You don't feel as though you've eaten a meal, and yet you can't eat any more.
As much as I'm enjoying stuff out here in Hollywood, I will always think of myself as a comic-book writer who does film and television, not a film and TV writer who occasionally does comics.
Even though you might believe you have the best product on the market or the best film in a really long time, not everyone will agree. The film may be the best thing since sliced bread, but you have to have great publicity to back it up.
As you know, I am not a writer but a Party functionary. But like every Communist I consider myself to have been mobilized by Party propaganda and deem it my duty to participate actively in the work of our press.
The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.
Only one party sticks out in my mind as a kid. It was the best party ever. I was 5 years old, and my mom dressed me up in a church dress and stockings to go to the party and park.
I work hard and I party hard. When I go to work, I know what I am doing and I do it to the best of my abilities. When I party, I take exactly the same rule book with me.
I'm not a structured writer. I have the carpet-laying theory which is you put it out there until there is a lump and you keep pushing the lump across the floor until the whole thing just lies flat. Every time you write there is going to be a bulge, something doesn't work and you have to find your way to get it to the other end.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
You can't reinvent the wheel. You've got to just take the best from all the other shows and try to make it work, because there's the "live show Gods" that dictate if there are going to be any surprises, if there's a very commercial film that's a Best Picture. There are a lot of things that are out of my control, but I do my best.
Our Heavenly Father expects the best from each of us. We must believe in ourselves. Don't give in when the going gets rough. You are laying the foundation of a great work, and that great work is your life.
I've just tried to do everything I can personally to be the best quarterback I can be, whether it's doing extra work for my rehab, extra work in the film room, on the board, extra work out on the field with my drops and footwork.
Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.
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