A Quote by Michael Brandt

When you're writing for a TV show, what's great is that you always know what actor you're writing to. — © Michael Brandt
When you're writing for a TV show, what's great is that you always know what actor you're writing to.
I don't know if I ever would have developed into a good actor, but that got completely scotched when I lost my vocal cord at 14 in the operation. But writing always - writing plays, writing, writing, writing, that was what I wanted to do.
My preference is for good writing. It doesn't matter if it's for film or TV. Whatever. It starts with the writing. Even though I've had problems with writers, it doesn't matter how great of an actor you are. If the writing is bad, you're going to struggle.
When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.
When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.
Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.
The cool thing about 'Transparent' is that the show is funny but not like a sitcom is funny. It all comes down to the writing... The writers on that show are so good that you don't have to worry about anything. There are so many things that can go wrong making a TV show or a movie, but if the writing's good, that's, like, 95 percent of it.
Typically on a TV series, the writers on a show are writing for their life almost every episode. When someone sits down to write a Netflix show, they know there's going to be a 13th hour.
I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.
Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.
You can have good writing, but a great actor will make it feel and sound like great writing. You can have great writing, and mediocre actors will make it feel mediocre. Without the actors, you have nothing.
You hope for that with anything, but with a TV show, the writer and the actor being the right mix are more important than the actual writing of the pilot because you hope it's something that can have a long life.
Art was always my main focus; I fell into writing by accident in the 1980s, writing magazine articles to pay for my studio. I have to put myself into the position of writing; sometimes it doesn't work, and sometimes it works great.
I think a melody is a melody. And the way I usually start is I start writing my themes without even writing to picture to just try to find the tone for the movie or the TV show.
One reason I didn't trust my writing for so long was that I always considered myself a serious dramatic actor. But people would always laugh when I shared my writing with them. It took my husband to help me see that I really am part humorist.
Whether it's writing a monologue or writing standup or writing a screenplay or writing a play, I think staying involved in the creation of your own work empowers you in a way, even if you don't ever do it. It gives you a sense of ownership and a sense of purpose, which I think as an actor is really important.
I've grown tremendously as an actor by being there. It is comic writing the likes of which I don't know that I'll ever see again and it's been a great, great experience.
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