A Quote by Danny Strong

I read an interview with Aaron Sorkin and he said he plays every part when he's writing. I thought, "Oh, I do that too! I'm doing okay." — © Danny Strong
I read an interview with Aaron Sorkin and he said he plays every part when he's writing. I thought, "Oh, I do that too! I'm doing okay."
I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
Every creator sets up their world differently. That's what's so amazing about someone like Aaron Sorkin and his writing.
I understood the importance of doing an Aaron Sorkin film. He's a political filmmaker.
When you get a chance to work with Aaron Sorkin, you don't say no. You drop everything you're doing.
There were two auditions for The Social Network, one with Aaron Sorkin and one with David Fincher. I was a nervous wreck. I was like, Okay, how do I hold the paper without my hands making it shake?
There were two auditions for 'The Social Network,' one with Aaron Sorkin and one with David Fincher. I was a nervous wreck. I was like, 'Okay, how do I hold the paper without my hands making it shake?'
It takes a very long time to read a script. I'll look at a script, but there are so many scripts. I remember once being at the dentist, and the guy was doing my teeth and telling me about the screenplay he'd written and he said, "Will you read it?" And I said "Oh...okay." And it turns out that it was about a dentist!
After I quit being a lawyer in '95, I was having a lot of trouble writing. Then I read somewhere that Willa Cather read a chapter of the Bible every day before she started work. I thought, 'Okay, I'll try it.' Before each writing session, I started to read the Bible like a writer, thinking about language, character, and themes.
I'd love to work with Aaron Sorkin on something. Just the way he writes, he has no fear in writing people that are fiercely intelligent, and I love that.
Just besides how smart Aaron Sorkin stuff is, really, is how visceral it is, how sensual it is. Not sexual, sensual. Always tactile. When you read his scripts, the scripts read fast and the words almost jump off the page.
Aaron Sorkin was completely unable to understand the actual psychology of Mark or of Facebook. He can't conceive of a world where social status or getting laid or, for that matter, doing drugs, is not the most important thing.
All of Aaron Sorkin's characters are so smart.
I just wish that I had a part in everything Aaron Sorkin wrote. Sometimes I wish I was a member of an acting troupe where we all just kept working together, the same people. I can't, unfortunately, be in everything he writes. I'm excited for him, but I'm jealous that I wasn't a part of it.
. I did an interview earlier and somebody asked me if I [knew I] was onto something back when I was first writing. I said, "Yeah. I always thought I was good." We're not the Beatles or Led Zeppelin or AC/DC. But Helmet always sounded like Helmet, and we sort of developed our own sound. There's a vocabulary that's kind of universal now that's very simple. My friendDavid Sims, [the bassist] in Jesus Lizard, said, "I wish I'd thought of it." When you first hear it, it's like, "Oh duh." But that's cool.
I knew I wanted to be an actor, and my mother said, 'Call Aaron Sorkin.' It seemed dubious that I'd make it as an actor by calling Jews I knew, but it worked.
When I read the 'Ugly Betty' pilot, I thought, 'Oh, this part's funny.' I said to my husband, 'I'm going to get it!' But based on what? All my exquisite comedic work in a Nike commercial?
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