A Quote by Lena Waithe
All the writers for 'The Chi,' they're all phenomenal, so I'm just working on projects with them. They have great scripts.
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I enjoy working with writers and their scripts. It's very exciting to me. Eventually I would like to produce, direct and act onstage, but it's not a heavy pressure. When I do it, I want to do it well. I'm just educating myself with writers and scripts, because I didn't read a lot of books when I was growing up.
There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.
There've been moments where I just was tired of being in L.A. It was very difficult. I mean, you're constantly rejected. And that's OK, it's just really frustrating for me, because I try to read scripts and projects that have really great, deeper, meaningful qualities to them.
I am not just sitting and reading everything because honestly sometimes the scripts that appeal to me are projects that are not good projects, but I just really like the script or the characters.
I got involved in lots of different areas round about 2007, 2008. Just working with lots of different people and stretching myself in different ways. I was working on art projects and working with other writers, just doing bits and pieces, trying to keep busy.
A lot of times you have to dip into the independent world to find the really great projects and the really great scripts. They're out there - you just have to search hard.
Sometimes I work in my office, just reading material, meeting writers, working on scripts. Other times, I'm on location. There's a lot of variety.
Gloucester's not some chi-chi tourist town. It's a working-class seaport: a no-kidding-around down-and-dirty place.
[Payne] was a really great experience, and both John [ Larroquette] and JoBeth [Williams] over the years, it's been great reconnecting with them and working with them on other projects as well.
The amount of work that TV writers and executives do is incredibly hard. I'm shocked that these people will hand in three outlines and two scripts, and everybody has to read them and give notes on all of them, even the writers.
Chi Chi Rodriguez had as good a pair of hands as anybody I ever saw, and more shots than you can imagine. But Chi Chi had a habit of turning simple shots into difficult ones.
Everybody is different. Some writers can write reams of great books and then J. D. Salinger wrote just a few. Beethoven wrote nine symphonies. They were all phenomenal. Mozart wrote some 40 symphonies, and they were all phenomenal. That doesn't mean Beethoven was a lesser writer, it's just some guys are capable of more productivity, some guys take more time.
I don't consciously seek out Australian projects. I put them on the same table as all the other scripts and I wouldn't ever do a film just because it's been shot at home.
In my estimation, there are four kinds of people that live on this earth: average, good, great, and phenomenal. Phenomenal is like Mother Theresa. She's dead, but we still talk about her on a regular basis. That's phenomenal.
I'm living in the moment. I just try to move each of the stories, scripts and projects that I work on forward. And when they're ready and the people are ready to make them, we'll do that.
Neil and I share a desire for great quality in our work. If we are offered projects, look at projects, or consider projects that don't have that quality, then we don't do them.
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