A Quote by Lydia Millet

No one bought my screenplays. — © Lydia Millet
No one bought my screenplays.
In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
My approach to making movies is different than other people, because I just write a lot of screenplays. I'm constantly writing screenplays.
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.
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.
Whatever Iranian people have bought, they have bought in the black market. It is not clear what they have bought, how many secondhand materials they have bought. I am very worried that something like Chernobyl will happen to Iran.
When I started writing screenplays, as early as I started writing anything, I hadn't seen any ordinary screenplays. I saw movies and figured out how I thought they should be written.
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 bought my mum a car, and I bought my brother one of those hoverboards for Christmas, and I bought my family a holiday to Australia.
I just finished a novel, and I'm back kind of noodling on the screenplays. Screenplays are tough. I am making music, I'm just not sure what kind of music it is or where it's going.
I bought everyone in my family a car, I bought my mum a convertible Mercedes. I bought a studio at a ridiculous cost - just insane.
I definitely want to do more movies, and I'm also a writer, so I have a few screenplays that I'm working on, one of them based off my one-woman show that I used to do in New York. Two of the screenplays I've written by myself, and then I'm also working on one with my writing partner, Tom Riley, who's in London.
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.
Writing screenplays is incredibly hard. I can't call it joy. Writing Novels? Joy. Directing? Joy. Writing Screenplays? That's where you pay all your dues.
Well, I guess that early 12 string. The first Martin I bought. I bought it around 1957 with money I earned as a janitor assistant. I bought brand new. I still have that.
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.
Eventually, my dad bought me a guitar for Christmas, and then I just went from there, man. I bought a drum kit a few years later and bought a bass, started producing, started singing.
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