A Quote by Simon Toyne

As a television producer, you do a lot of writing - drafting proposals for pilot shows and other things, so yes, a good deal of writing was involved. — © Simon Toyne
As a television producer, you do a lot of writing - drafting proposals for pilot shows and other things, so yes, a good deal of writing was involved.
Years passed and I hadn't really done much writing. Other than the fact that I'm constantly developing new shows, writing up proposals and stuff.
That freedom of writing you don't get in other formats, I'd rather leave it to someone else to deal with the headache of drafting my book into a screenplay.
Writing pilots is such a specific thing. It's not even really writing TV shows. A pilot is its own beast.
I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.
There's exceptional work being done on television. Some of our great writers are writing for television. When you have things to choose from, you typically go after the writing - unless you're going after the money. There are fewer opportunities in film to make money with good writing, unless you're an action hero.
There's such good writing now on television and I don't see a lot of great writing on films sadly.
Directing a movie precludes me from being involved in any greater way. But, the job was never to do more, it was always to enable. Sometimes as a producer, you're creating and writing it, or sometimes you're writing and directing it, or other times you're there from the very beginning.
Being a producer and a star of the play was a lot more challenging and difficult than I ever anticipated, but so rewarding. I got to be involved with the writing, the casting.
Good writing is clear. Talented writing is energetic. Good writing avoids errors. Talented writing makes things happen in the reader's mind - -vividly, forcefully.
I don't have a writer's room. I write all the shows myself. Ninety-one episodes a season, I'm sitting there at the computer writing and writing and writing because I want the voice to be authentic so that the audience is hearing from me and not other writers.
The quality of writing attracts me to films, also who the other actors are, who the director is, where it's being shot. Any or all of those things. But if the writing is really appalling, then the money had better be really good. Sometimes you say yes to something you wouldn't always do because you need the money.
I vicariously lived the life of an independent producer from the time I was four years old. And what was always important was writing, writing, writing.
I started writing sketches with Dennis Kelly, who I ended up writing 'Pulling' with. We entered a BBC competition and did quite well, then started writing bits for other people's shows. You wheedle your way in, write pilots and eventually you end up writing a sitcom.
I spent as much time writing proposals in '98 and '99 as I did writing scripts.
When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.
There is a lot to be said for collaboration, and it should be seen as just another way to do things as it is in other forms of writing, such as for television, where it is standard practice.
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