A Quote by Brian Helgeland
Because I've been at it so long and very steadily, I have a lot of credits, but I probably have twice as many scripts that were never made for whatever reason.
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I see so few scripts just because, for whatever reason, there just aren't that many good scripts with a young, teenaged girl. So it's always been sporadic. People don't know what to do when writing a story with teens that takes place now - they think you have to make a bunch of references to Facebook.
This is why you can never reason true Christians out of the faith. It's not, as the adage has it, because they were never reasoned into it - many were - it's that faith is a logical door which locks behind you. What looks like a line of thought is steadily warping.
Oh, my darling, wish you were here! And my dark soul is happy again, because it does not know how to be anything else for very long, and because the pain is a deep dark sea in which I would drown if I did not sail my little craft steadily over the surface, steadily towards a sun which will never rise.
My screenwriting credits in my career are probably not dissimilar to some other ones in the sense that a lot of the scripts you write don't get made, and the ones that do get made are certainly - as a writer, they're not your vision.
People can think whatever they want to think because I'm steadily taking my checks to the bank, steadily putting food in my babies' bellies and raising them the best that I can. I'm really getting to the point where I honestly don't care what people think because they probably wish they were in my shoes.
There are so many fantastic roles, but the ones that have always drawn me to them are the loners who, for whatever reason, never quite fit in and knew it and had to find their own way. I've always been drawn to that, for some reason. I've always been drawn to that sad, isolated place, but what it produces in behavior is something else, entirely. For whatever reason, I'm drawn to these people. Essentially, I think what draws me is that they are survivors against rather considerable odds.
Mr. [Aldous] Huxley has been the alarming young man for a long time, a sort of perpetual clever nephew who can be relied on to flutter the lunch party. Whatever will he say next? How does he think of those things? He has been deplored once or twice, but feeling is in his favor: he is steadily read. He is at once the truly clever person and the stupid person's idea of the clever person; he is expected to be relentless, to administer intellectual shocks.
The reason I call my book 'Irreverent' is because there were a lot of pictures that were very irreverent. Maybe I could call my book 'Forgiving' because maybe I made a lot of errors, too.
People are calling a lot, sending scripts my way. Yes, it's wonderful because, let's face it, there aren't many wonderful scripts for women over the age of 10.
I didn't have a fraternity-like experience. I mean, I grew up with an older brother and a lot of male cousins and we were very physical with each other. We were very rambunctious when we were kids. But I never thought much - nor did I have reason to think much - about institutionalized hazing. But I think there's a reason young men are drawn to it.
Oh, they've been putting in the long hours ... But is that because they don't have the skills, and everything takes twice as long? Or do they put in these hours to avoid what they should be doing ... which is stopping and binning a lot of [their work]?
He was tall, thin, and very old, judging by the silver of his hair and beard, which were both long enough to tuck into his belt. He was wearing long robes, a purple cloak that swept the ground, and high-heeled, buckled boots. His blue eyes were light, bright, and sparkling behind half-moon spectacles and his nose was very long and crooked, as though it had been broken at least twice. This man's name was Albus Dumbledore.
I'm very blessed, mainly because even though my family is mostly in show business, it's really centered around music. My parents were very successful in many ways, but they weren't necessarily top of the charts. We were never wealthy because of music. We always had to work and we always had to struggle a little bit, and I think at the end of the day that's been very good for me, because I have a sense of it being very ephemeral.
I wrote lots of scripts that never got made and they were terrible. I thought they were good at the time. You can't write two scripts and expect your career to take off. Keep writing. Be you. Be original. A lot of people go for a genre, which is fine if you can do that really well, but we all have such layered histories. We all come from a unique background. Write about your past, write about you. Or make stuff up, but make it about something that really matters.
I feel that I can't do certain things that have sent to me, scripts, because I think that really - I've been June Cleaver for so many years, because we went back, you know, and we did - 20-year hiatus we had - and we went back and made 105 new ones. And so I really feel very strongly that there are certain things I won't do.
Look, part of it is that those credits have a list of names of people who work so hard on the show. They do amazing visionary work on 'Dragon Prince'. And Netflix lets you skip those credits so easily. We wanted to give people a reason to enjoy the credits.
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