A Quote by Maurice Flanagan

I wrote an ITV drama in the 1960s, a satire on management theory that starred Leonard Rossiter. I'm also a poet and have had work in the 'Spectator.' — © Maurice Flanagan
I wrote an ITV drama in the 1960s, a satire on management theory that starred Leonard Rossiter. I'm also a poet and have had work in the 'Spectator.'
I'm proud of the fact that Downton Abbey was born in a recession, at a time when ITV had dropped a lot of drama programmes. And I know that because I was out of work at the time!
It's very important to me to be an American poet, a Jewish poet, a poet who came of age in the 1960s.
I worked with Nick Hurran when I was 15 and had to remind him of this. I did a drama for ITV which he directed.
When I wrote 'Savage Season,' it was three years later before I wrote the second Hap and Leonard novel. Whenever I wrote one, I never intended to write the next one.
There are some singer-songwriters who start out as poets. So someone like Leonard Cohen wrote and published poetry in the early 60s, but then started writing songs. Bob Dylan's a poet in the sense of bard, aoidos or vates.
I wrote poetry for seven or eight years, maybe longer, before I could say I was a poet. If people asked, I'd say I wrote poetry; I wouldn't go further. I was in my mid- to late-thirties before I felt that I was a poet, which I think meant that I had begun to embody my poems in some way. I wasn't just a writer of them. Hard to say what, as a poet, my place in the world is. Some place probably between recognition and neglect.
One of the appeals of William Carlos Williams to me is that he was many different kinds of poet. He tried out many different forms in his own way of, more or less, formlessness. He was also a poet who could be - he was a love poet, he was a poet of the natural order and he was also a political poet.
For my web series 'Get Your Life,' I wrote that and produced it and starred in it so that I could have a body of work that represents my voice as a writer and as a performer.
I didn't read poetry seriously until college, when I really began to devour it in a very intense way. I also discovered that a poet is a maker. Before that, I thought a poet was someone who wrote about his own experiences.
If 'Spectator Business' works, we will continue this brand extension strategy and look at everything from 'Spectator Arts' to 'Spectator Style and Travel' or 'Spectator Connoisseur.'
I had no idea what I was doing when I wrote 'Search.' There was no carefully designed work plan. There was no theory that I was out to prove.
I have been a part of four different genres - a political satire, gangster drama, thriller and period drama.
I used to regard genres as being embedded in cliches, and I always felt funny about the need we have to label things. But I'm happy to think of 'Starred Up' as a prison drama, although we tried to smuggle in some elements of family drama in there.
I found marketing to be highly descriptive and prescriptive, without much of a foundation in deep research. I brought in economics, organization theory, mathematics, and social psychology in my first edition of Marketing Management in 1967. Today Marketing Management is in its 15th edition and remains the world's leading textbook on marketing in MBA programs. Subsequently, I wrote two more textbooks, Principles of Marketing and Marketing: an Introduction.
I do not miss ITV, God no! Have you seen ITV lately?
In PhD, my topic was Stage Techniques in Sanskrit Drama - theory and practice. I wanted to combine my drama training with Sanskrit drama, which has a very rich history in literature.
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