A Quote by Rod Serling
I'm an affluent screenwriter and all that - I'm a known screenwriter, but I'm not in the fraternity of the very, very major people. I would say a guy like Ernie Lehman, William Goldman, and a few others are quite a cut above.
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When you're a screenwriter working on a film, you're not really even welcome on set, even if you know... When I wrote 'Elizabeth' and Shekhar Kapur was a friend of mine, but I wasn't really welcome on set, because the director is God and it's a very difficult position for a screenwriter who's put so much passion into that, into the writing.
As a screenwriter you're the towel boy in the whorehouse. I mean you know you're lucky if you're invited to set. It's kind of like here is the blueprint, go and that's you know there has been some debate as to whether or not a film should be by the director or by the screenwriter or by both.
I would say, A, you can't really teach anyone how to write good characters, because it's something you have to teach yourself or already have innately in you as a storyteller, and, B, coming up with a good screenplay is a very, very small fraction of what it takes to be a good screenwriter.
It was okay but then I found myself in that position of being merely a screenwriter. And you are merely the screenwriter, and there's no way around it. You don't have the same clout as the director.
They say the pen is mightier than the sword and I would like to have the ability to write things down and make them happen. So I guess I would like to be a screenwriter.
What I want is to be the highest grossing screenwriter, or to have some other woman be the highest grossing screenwriter, instead of being number nine on the list. That's my goal.
My mom was a screenwriter. I saw a lot of people who didn't seem very fulfilled creatively or otherwise by their roles in the motion picture industry.
Pictures are written, acted, directed, photographed, edited, scored and all that. The screenwriter determines what scenes are in and what scenes are out; decides whether that bit of information is dramatized or just referred to; whether it takes place on or off screen. There are millions of decisions made by the screenwriter.
The dull externals of the screenwriter's working life are well known: We are the people taking up too much table space at cafes.
Acting is many things. Acting is playing lines, of course, but it's much more profound than that. Acting is truth-telling and trying to find the truth in a human situation, which will be sketched out by a screenwriter with all the skill that a screenwriter can do; but in the end, that's just the map of the journey.
My brother is a screenwriter. He likes to say, 'I like to take on a genre when it's dying, because then people are ready for you to shake it up a little bit.'
I like to write, and I would love to be a screenwriter one day and a director.
Chekhov would have been an excellent screenwriter. He is singularly good at dipping in and out of a group of people's lives, like Robert Altman did.
I'm a very slow screenwriter. It takes time for me to write a screenplay. Also, I feel it's not my strength.
American business would be run better today if there was more alignment between CEOs' interest and the company. For example, would the financial crisis of 2008 have occurred if the CEO of Lehman and Morgan Stanley and Goldman and Citibank had to take a very small percentage of every mortgage-backed security... or every loan they made?
I started writing when I was 26, so I don't even know what year that was. I wrote a script for me to star in. A friend of mine, who was an actor that I would compete against a lot, had written a script and was taking all these meetings. He just kept pushing me and was like, "You got to do it. You're going to love it!" He's a very successful screenwriter now. His name is Michael Bacall and he wrote 21 Jump Street, Project X, and Scott Pilgrim vs. the World. So it was a few factors.
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