A Quote by Lorene Scafaria
Work harder than everybody. Read scripts, watch movies. Help other writers, it makes you better. And probably move to L.A.
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The best answer and the best way forward to young women out there who want to get ahead is work your tail off. Work harder than everybody. Be better than everybody else. Do better. Try harder.
I always love when everybody else is really bringing their game, because it's only going to make the movie better; it just makes you work harder and they work harder and everybody is trying to get their little bit in. It's competitive in a constructive way.
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.
I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor.
I see so many talented writers of color struggling to get their work out to an audience. I know that's the case for all writers - everyone's struggling for attention - but I do think that for writers of color it's harder, and for women it's harder, and for regional writers it's harder, too.
It's almost as if we have two lobes in our brain. There's the consumer and investor mode, and we're doing better and better at that lobe. But at the producer and seller mode, we have to work harder and harder. And the better we do as consumers and investors - the easier it is for us to choose something better, to exit every commercial relationship - the harder we have to work as sellers and producers. One follows from the other.
Having certain limits - not too many, but certain limits on an ability to tell a story - makes us work harder, me and my writers. Sometimes I watch a giant movie with a $250 million budget and I think they feel kind of bloated, and that if they'd been leaner and meaner they might've had better storytelling.
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.
Oftentimes you read scripts, and you get to one and you think, 'OK, is this good, or is this just better than all the other ones that I have been reading?'
My to-do list is the only form of organization I have, other than my iCal. It's not all work stuff; it's a lot of movies that I want to watch sooner rather than later. I have a list that's like, 'Read an essay from this book, then this one, then go back to this one.'
You're...writing for other writers to an extent-the dead writers whose work you admire, as well as the living writers you like to read.
Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.
The fact is that television, even before the movies, offered the chance to control our work and to get to do it again when we did something right. So television has always been better to writers than any other medium for a long time.
I didn't watch a lot of American television growing up. I just liked to read a lot and watch movies - movies, movies, and more movies. My family used to make fun of me because I'd like every movie I saw.
Comics seldom move me the way I would be moved by a novel or movie. I say this as someone who would rather read comics than watch movies, listen to music, anything. But it's not an operatic medium. I hear other people talk about being moved to tears by comics. I can't imagine that.
It was a role [Dean Sanderson] I hadn't seen before, and yet it was very accessible and relatable at the same time. I read scripts that have one or the other, but I rarely read scripts that have both. And it was laugh-out-loud funny.
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