A Quote by Sarah Gadon

The way I sometimes approach my work, when I look at a script for the first time, is to identify what the archetypes are and what the writing is trying to do in that context.
Jung said there are four archetypes adults go through, and these archetypes are reflected in the development of my work. The first archetype is the archetype of the athlete, reflecting the time in our adult life when our primary emphasis is on our body - what it looks like, how beautiful it is, how strong it is, and so on. We identify ourselves with our body. We are our body. Growing adults next move to what Jung called the archetype of the warrior. We take our physical bodies out there to do what warriors do.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
If I spend a year and a half writing a script, the first year will be outlining in notebooks. It's just the way I work, definitely not necessarily the best way.
The Zen way of calligraphy is to write in the most straightforward, simple way as if you were a beginner, not trying to make something skillful or beautiful, but simply writing with full attention as if you were discovering what you were writing for the first time; then your full nature will be in your writing.
Sometimes my doubt seems intuitive, but most likely it derives from an implausibility or a logical problem I may at first find difficult to identify and articulate. It is interesting to me to work through questions that arise in this way.
I think sometimes when trades are made the beginning of the season on paper, they look great. It just takes time. Sometimes the process by the media or outside influences or sources want it to be now. Sometimes it doesn't work that way.
It's not about the script: it's about who the director is and who the other people in the cast are. Because you can look at a great script and execute it in a very sophomoric way, and you can look at an OK script, and you can execute it in a very sophisticated way and come out with something really good.
First, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.
I always get a headache the first time I watch a movie I'm in. Because you're staring at the screen so hard, your brain is doing all this work trying to put things in context of what the day-to-day experience of making it was. And the timeline that's in your head of when it was made, and on what day, how you felt. And then you're also trying to grasp what it's been edited into.
The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.
Writing fiction is for me a fraught business, an occasion of daily dread for at least the first half of the novel, and sometimes all the way through. The work process is totally different from writing nonfiction. You have to sit down every day and make it up.
Sometimes things in life take a few years to digest, and they find their way into the work later on. Sometimes I'm writing about things from eight years ago-they just took a long time to distill and come out in the appropriate way.
At first, teaching was more or less a straightforward way of making a living and having access to institutional resources while writing - aka libraries. And that was not inconsiderable. But it didn't in any way touch the writing. Maybe it would push the writing aside sometimes, but mostly it was fine.
Our strategy is very horizontal. We're trying to build a social layer for everything. Basically, we're trying to make it so that every app everywhere can be social, whether it's on the web or mobile or other devices. So inherently, our whole approach has to be a breadth-first approach rather than a depth-first one.
When I'm writing, sometimes it gets to that place where I feel like the piece is writing itself and I'm trying not to get in the way.
When I'm writing, sometimes it gets to that place where I feel like the piece is writing itself and I'm trying not to get in the way
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