A Quote by Nora Ephron

All I do when I write scripts is think about food: 'Have I worked long enough to justify a walk to the kitchen?' — © Nora Ephron
All I do when I write scripts is think about food: 'Have I worked long enough to justify a walk to the kitchen?'
I write scripts, I read scripts, I meet people who chat about their scripts. So honestly, I don't feel bad if I don't act in a film, as long as people are making great films.
Food became the antidote for feelings of guilt, sadness, and anger. ... Food is a resolution to controversy; food is rescue. We ate and talked and cried and laughed in the kitchen and ate again. This was about more than just food. It was about our mom making connections the best she could and in the way she knew best across the kitchen table, across time and across sadness.
I think I've learned that if you have a house, you end up living in the kitchen, so if you have one big kitchen and then enough bedrooms for your family, that's about all you need for a home.
In a global race, can we really justify the huge number of expensive peripheral European institutions? Can we justify a commission that gets ever larger? Can we carry on with an organisation that has a multibillion pound budget but not enough focus on controlling spending and shutting down programmes that haven't worked?
I was able to walk at 5. I had to be able to walk in order to be mainstreamed into public school. And my father worked day and night to teach me how to walk. And I think what's so amazing about this is the fact that he was told that I would never walk. And he decided that he was going to try.
I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact.
I'm always in the kitchen, cooking and experimenting - I love it. And every now and then I think, 'I should write a cookbook' or, 'I should write for food magazines.' And then I get drawn back to writing fiction again.
My kitchen witch hangs above the sink in my kitchen. Some people think it's specifically so that you don't burn food when you cook, but I like to think that it's warding off evil spirits and bad things in general.
I remember that when I got to NYU, everyone was writing scripts. But I was 18 at the time, and when you write a script, so much of it is about what you pull from life, and this sounds sort of cheesy, but I felt like I didn't have enough life experience at that point to write a movie.
I think the thing that I think about the most when I consider my father's philosophies is attaining that third stage of performance where you no longer have to think about what you're doing; you've worked long and hard enough to be able to have your body respond when you want it without your mind getting in the way.
Sometimes touring can warp reality because you're never in one place long enough to get a feel for it. You don't interact with people long enough to know what real life is. That's why a lot of artists write songs about longing and missing people when they're on the road. I do my best to keep my mind open and I read a lot when I'm on tour, so I hope I have good things to write about. I'm constantly in the songwriting process.
I wrote lots of scripts that never got made and they were terrible. I thought they were good at the time. You can't write two scripts and expect your career to take off. Keep writing. Be you. Be original. A lot of people go for a genre, which is fine if you can do that really well, but we all have such layered histories. We all come from a unique background. Write about your past, write about you. Or make stuff up, but make it about something that really matters.
I think you can write a psychological profile of me that says I found a way to immerse my insecurities in a cause large enough to justify whatever I wanted it to.
I honestly never intended food to occupy so much of my creative work. Food-writing often seems about to plummet straight into sentimentality. I think food can be dangerous to write about because if you don't manage to mediate it somehow, it can be the worst sort of greeting card.
A lot of people think Japanese food is difficult, a lot of work. But you don't have to buy the knife I have. You don't have to train as long as I have. You can do my cooking in your kitchen.
I always tell my students, 'If you walk around with your eyes and ears open, you can't possibly live long enough to write all the novels you'll encounter.'
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