A Quote by Jason Gann
I'm sort lucky in that for me, I'm a writer now. I started as an actor but I'm a writer and so things like 'Wilfred' and shows like that are where I escape to.
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It's funny, in a way the actor is a writer. It's not like the two things are so separate as to be like apples and oranges. The writer and the actor are one.
My abject hatred of actors and the acting world. I went to college as an actor, and halfway through, I switched to playwriting and directing. Then I spent a couple years working in publishing, doing some freelance journalism for The Village Voice and Musician magazine. I thought my life was going to be as a writer, but then I realized I missed performing, so I got into comedy. It was a nice combination of things I was sort of good at. I was a pretty good writer and a decent actor, but I didn't really like acting, and I didn't have the discipline to be a writer.
I was writing at a really young age, but it took me a long time to be brave enough to become a published writer, or to try to become a published writer. It's a very public way to fail. And I was kind of scared, so I started out as a ghost writer, and I wrote for other series, like Disney 'Aladdin' and 'Sweet Valley' and books like that.
I sometimes feel I'm a sort of cult writer, rather than a mainstream writer, in that those who like my stuff like it a lot, but the appeal is not that broad.
Once I started getting paid to be a writer and not having lots of other gross responsibilities, like making the puzzle or whatever, then my ambition changed, and I thought, 'Now I want to be a good writer.' And that became my ambition.
Of course I'm a black writer... I'm not just a black writer, but categories like black writer, woman writer and Latin American writer aren't marginal anymore. We have to acknowledge that the thing we call "literature" is more pluralistic now, just as society ought to be. The melting pot never worked. We ought to be able to accept on equal terms everybody from the Hasidim to Walter Lippmann, from the Rastafarians to Ralph Bunche.
It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.
I always thought that I was a terrible writer. And I started to write songs. And I started to like what I was writing. I think it's a new way for me to express things that are closer to myself than when I play a role because, of course, it's really not me.
I definitely think of myself still as a writer first, and feel like - with the lucky exception of this - any acting opportunity I've gotten is usually because I was writing on it. This is like a wonderful vacation. If you've ever sat in a writers' room it's the most disgusting, tortuous place, so it's a treat to be treated like a movie actor.
Who made me laugh when I was growing was Chaplin and the Marx Brothers, and then moving on, there were so many that I was a writer for for many years: I was a writer for the Smothers Brothers, Lily Tomlin, then I started on 'Saturday Night Live' as the head writer the first year we started it.
I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.
When I was in the writers' room, all these writers were like, "Ugh, another star that they gave a writing-producing credit to." But then within like an hour, they were like, "You're really a writer." "Yeah, I really am. I'm a writer, and a director, and a producer, and an actor, and a painter, and I do all that stuff in the Lush Life." It was great.
There's this great fashion among writers, especially those who follow the transnational conservatives like V.S. Naipaul, to disavow one's place in the world as a sort of box that has sprung you but is only worthy of your scorn, because it once contained you. And I've been tempted to say foolish things, like "I am an American writer" or "I belong nowhere," but the truth is I'm perfectly proud of identifying as an Indian writer, even if that might hurt my bottom line.
To say that a writer's hold on reality is tenuous is an understatement-it's like saying the Titanic had a rough crossing. Writer's build their own realities, move into them and occasionally send letters home. The only difference between a writer and a crazy person is that a writer gets paid for it.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
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