A Quote by Morgan Neville

As a writer, I think about films I work on in a traditional Hollywood kind of a way. I'm curious to see how it translates. — © Morgan Neville
As a writer, I think about films I work on in a traditional Hollywood kind of a way. I'm curious to see how it translates.
I really enjoy watching animation films and I have always been curious about how such well-established actors in Hollywood lend their voices to animation films.
I think the films we see, the Hollywood films, which are basically entertainment, will still be there, but they'll be in a totally different category. People won't take them seriously. They'll kind of end up the way comic books have. A side view of things.
You need to be curious one way or another as a designer. Your eye has to stay curious. I look at people and think about how they live. I think about bodies.
I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.
I think that very often younger writers don't appreciate how much hard work is involved in writing. The part of writing that's magic is the thinnest rind on the world of creation. Most of a writer's life is just work. It happens to be a kind of work that the writer finds fulfilling in the same way that a watchmaker can happily spend countless hours fiddling over the tiny cogs and bits of wire. ... I think the people who end up being writers are people who don't get bored doing that kind of tight focus in small areas.
Everyone needs some trial and error figuring out how it's gonna work for them. I could have gotten that out of the way a little sooner but I think you're totally right, the way I kind of think about things and the way I wanted to put myself out there doesn't fit the traditional side of things. I needed things like podcasts and YouTube and things that allow you to get it out there yourself and stand in the flames.
While I don't satisfy my curiosity about the way I work, I'm terribly curious about the way other poets work. But I would think that's true about many of us.
I think writer is a word without gender, and a good writer observes, absorbs, hopefully empathizes then translates that into character and story. You don’t have to do or be or have experienced, traveled to, but you have to imagine all of that, very well–and believe it completely during the bubble of the work.
It's like, 'How can I reverse engineer what it takes to gain followers on a platform?' And I'm curious about how it works. And I'm the same way with people. I'm curious about what makes them tick.
I'm not a writer because I want to make money. I'm a writer because I'm a very slow thinker, but I do care about thinking, and the only way I know how to think with any kind of finesse is by telling stories.
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.
There's nothing in Hollywood that's inherently detrimental to good art. I think that's a fallacy that we've created because we frame the work that way too overtly. 'This is Hollywood.' 'This isn't Hollywood.' It's like, 'No, this is actually all Hollywood.' People are just framing them differently.
I approach the film business the way I feel about self-esteem. It's something that has to be maintained. That's kind of how I feel about positive roles in Hollywood. They have to be maintained. You have to purposefully, intentionally try to make the right type of films. And the more people that do that, the more things will continue to improve.
As I'm writing it, I'm kind of curious to see what's going to happen. It almost feels like I'm the writer and I'm the listener, too.
One of the most useful parts of my education as a writer was the practice of reading a writer straight through - every book the writer published, in chronological order, to see how the writer changed over time, and to see how the writer's idea of his or her project changed over time, and to see all the writer tried and accomplished or failed to accomplish.
For some reason, a lot of Hollywood big shots are curious to see how they'd be drawn with bulging eyes and no chin.
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