The biggest difficulty in film industry today is not that of getting dates, actors or finance, but writers. We don't get writers. They are like heart surgeons with whom you need to meet after fixing an appointment.
I grew up reading the 'Village Voice' and wanting to be one of these multidisciplinary music writers, film writers, book writers. And I lucked out getting a job at the 'Voice' right after college.
The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
There are professional negotiators working for the writers and the actors, but basically you've got the writers and actors negotiating against businessmen. That's why you get rhetoric.
The most thankless job in our film industry is that of lyricists. Next in the list are writers. These two don't get any recognition at all, whereas they have the most important roles in every film today.
Let's not get too precious about it: actors are not heart surgeons or brain surgeons. We are just entertaining people.
I think more talented writers should get involved in the industry, yes, of course. But that doesn't presuppose that those writers have to be novelists or screenwriters.
I rarely talk about work with writers, and I love getting together with writers. I think writers are great to get together with, because we can talk about everything. I think that's why I enjoy it. Writers tend to be pretty open-minded, and pretty profane and loose. They have fun minds.
I get to meet writers, and I love writers.
Real writers-that is, capital W Writers-rarely make much money. Their biggest reward is the occasional reader's response.... Commentators-in-print voicing big fat opinions-you might call us small w writers-get considerably more feedback than Writers. The letters I personally find most flattering are not the very rare ones that speak well of my editorials, but the occasional reader who wants to know who writes them. I always happily assume the letter-writers is implying that the editorials are so good that I couldn't have written them myself.
When you're a writer in Hollywood, you don't get to work with other writers. You barely get to meet other writers. We're interchangeable, disposable pieces that never really get to collaborate.
The more shows that there are, the better it is for the industry. The writers are busy, if the writers are busy, the actors are busy.
Younger writers and smaller writers need to live and get by. They need to be paid. It has to be fair.
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
My generation of writers has been prone to premature illness and death, especially the women. When Black male writers meet it's like a session of the American Diabetic Association.
Let's stop reflexively comparing Chinese writers to Chinese writers, Indian writers to Indian writers, black writers to black writers. Let's focus on the writing itself: the characters, the language, the narrative style.