A Quote by Richard Greenberg
I had a plot connection that nobody understood for this fourth character, and decided, Oh, nobody gets it, that's all. I'll write another draft to make her make sense. It took me awhile to learn that these three people were the core of this play, which seems so obvious now.
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(on Marilyn Monroe) I was walking down Broadway with her and nobody was stopping us. She was going to (Stella Adler's) actors' studio, and she was taking me to show me what it was all about. And I said to her: "How come nobody is taking your picture?" She said: "Well, watch." She took her scarf off, straightened her shoulders, and draped something another way, and we were surrounded. It must have been 400 people. And I said: "Now I know why!"
I had to write something and couldn't think of a plot, so I decided to write a Cinderella story because it already had a plot! Then, when I thought about Cinderella's character, I realized that she was too much of a goody-two-shoes for me, and I would hate her before I finished ten pages.
God has called us into a place of tenderness, when nobody is looking, when there are no great decisions to make, when it’s just him and me in a hotel room, with no one to pray for, no one to preach to. When it is just two people in a room, that’s where you learn. That’s where you learn his heartbeat. That’s where you learn the presence. That’s where you learn the voice. It’s in the moments when nobody is watching, nobody is evaluating how good you’re doing. When it is just you and him.
I don't write a play from beginning to end. I don't write an outline. I write scenes and moments as they occur to me. And I still write on a typewriter. It's not all in ether. It's on pages. I sequence them in a way that tends to make sense. Then I write what's missing, and that's my first draft.
I wanted to write a book about two women falling in love that wasn't hinged on tragedy or that involved some horrible identity-based misfortune. I wanted to write a pretty standard romantic comedy where nobody dies, nobody gets hurt, nobody gets sick.
Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make 'Get Out.' Nobody. Nobody wanted to make 'The Purge.' I think it was floating around for three years before it came to us. Nobody wanted to make 'The Gift,' when it was a script called 'Weirdo.'
I just try to make comics for myself, try to give it some kind of unity throughout. That often involves tiny details. I'm never sure what's going to be obvious or what nobody will ever notice. I put stuff in my comics that I thought was blatantly obvious, and nobody noticed. And things that I think are buried in the background, everybody gets it. So I try to be consistently aware of every part of the frame.
If you are to use Alexander Graham Bell’s product, which is to say the blower, you should, in all courtesy, use it as he would have wished; and Dr Bell insisted that all phone calls should begin with the words ‘Ahoy, ahoy’. Nobody knows why he insisted this – he had no connection to the navy – but insist he did and started every phone call that way. Nobody else did, and it was at the suggestion of his great rival Edison that people took to saying ‘Hello’. This seems unfair.
Nobody ever asked me to do anything. Nobody knew what to do. When comics were brand new, nobody knew what kind of comics to make. So you were mostly on your own.
Obviously, 'Twilight' had its own alchemy that was amazing, just phenomenal. Nobody thought it was going to make any money. Paramount wouldn't make the movie. Fox wouldn't make it. Nobody wanted to do it.
Nobody gets everything in this life. You decide your priorities and you make your choices. I'd decided long ago that any cake I had would be eaten.
Nobody the dead man & Nobody the living Nobody is giving in & Nobody is giving Nobody hears me but just Nobody cares Nobody fears me but Nobody just stares Nobody belongs to me & Nobody remains No Nobody knows nothing All that remains are remains
I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.
Nobody gets to say who we love, or who we lay down beside, or take as our husband, lover, life, or bride. Nobody gets to decide what's for some, that others should hide. Pride. Nobody gets to choose but YOU.
It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.
To live moment to moment is the life of meditation. Then life becomes spontaneous without any effort; then nobody can make you miserable, nobody can disappoint you, nobody can make you a failure because in the first place you were not trying to be a success; you were not asking the future to be in a certain way. So whatever happens, the next moment you can rejoice. It is always your victory.
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