A Quote by Jon Ronson
Film isn't a meritocracy; there's no system ensuring the best screenplays get produced. It's a hustle.
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The best way of ensuring that we get what we need is by demonstrating we have a clear plan, we are thinking strategically and ensuring every pound of taxpayer's money is spent wisely and my focus is ensuring we do that.
I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.
At Uber, we say, 'Always be hustling.' Even if you are an introvert and you haven't got hustle in you, you better get a co-founder who does. And if you haven't got enough hustle to find a co-founder who's got hustle, it's going to be tough. You've got to have a little hustle in you.
I have completed and uncompleted screenplays, but they both fall into the category of “unsold.” I've seen quite a few movies where the screenplays seemed to be in the “uncompleted” category yet still got sold and made into movies, so I generally refer too all screenplays as “sold” or “unsold.” But that's just my own filing system.
In a meritocracy, actors who act well get good roles. They don't get to be journalists, too - a job that, in a meritocracy, should go to those who do journalism well.
Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.
Well, you just know, as a writer, I didn't really write one of the five best screenplays of the year. There were lots of brilliant screenplays; I was just one of the lucky ones who got nominated.
When I moved out to Los Angeles to get some film and television work, and couldn't get any... I became a little isolated, a little terrified, and it's a good place to get writing, because you're so bored. So I wrote a few screenplays, and people notice those.
A lot of people hustle differently, and I was like, 'You know what, let me hustle and create, and let me have something to show,' cuz my hustle led to opportunity.
Fathers have a quality of responsibility and coming back home from work after the daily hustle and the best thing is that despite the hustle and problems, they will still have a smile on their faces which is a very special quality.
You probably can't name more than a handful of comedies that would qualify for Best Picture. I can think of a lot of comedy screenplays; Woody Allen has had numerous nominations for his screenplays. But most comedies are calculated. They tend to pander. They're not about anything important.
I love Hap and Leonard and plan to write more about them, but not exclusively about them. I have always worked in film, or since the eighties, but my screenplays - though I got paid and did screenplays for Ridley Scott and John Irvin and Mark Romanek - seldom got made.
For a long time, I've had to hustle. If a film role is obviously great, then it's been difficult for me to get a look-in.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
Infosys is an absolute meritocracy. Even in a meritocracy, other things being equal, you have to give opportunity to the more experienced candidate.
. . usually, the biggest problems of adapting plays into screenplays is that they stick too close to the play, and I think film is a completely different medium. I think a novel is much closer to a film.
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