Quotes of All Topics . Occasions . Authors
I was raised primarily by women. I had a mother who almost killed herself to survive, I had a sister who was eight years older who was like a second mother, and my mother had two sisters. In the environment I grew up in, I heard a lot of female perspectives.
Dagwood Bumstead was a great unrecognized hero of American literature. He showed up every day, he got knocked down every day, he never got to eat his sandwich every day, the dog jumped on him every day, his wife was giving him a hard time and he showed up every day.
I think you always want to have a project where it's not about you: where you're serving it. Where it has needs, and you're trying to meet those needs, so you're trying to lift it out of you and put it out there and then say to people, 'Hey, I think that's it; let's head that way.'
I always think that the deal, once I do the script, sort of the experience I go through writing, which is everything you can imagine, but I always think it's the one thing I can do when I'm directing is say is that it's all about the actors, that I can say, 'We're all here to serve the actors.'
I could see no position to say, 'I'm going to make a living as a writer.' But I went to classes for it; I read every play in 'Theater' magazine. I saw the second acts of everything on Broadway - I had a job as a CBS usher in New York City, and on my way home every night, I'd see what shows I could get into.
I don't know whether I have ideas all the time. I think I'm curious about things all the time; I think I'm always curious, and I think I'm always interested in whatever passes by, and I know I tend to think about things, and I tend to talk about things, and sometimes that takes root and gives me something to chase.
The remarkable thing about 9/11 was that journalism pretty much put down its badges. People didn't worry about reacting as human beings. People who weren't reporters reported. David Letterman was sort of a brilliant reporter for a second - but it was a way nobody had ever covered a story. They just presented what was inside themselves.
There was a great director who directed a picture that I wrote who barred me from the set quite appropriately and said, "I'm sorry, Jim. When you're directing, you don't need to know everything. You need the illusion that you do." And, you know, and I WOULD be there behind him trying to signal the actors in, you know, in a way I wasn't even aware of.
You have more and more people coming into the tent with the creative guys [on Hollywood films]. You have marketing and concept testers, advertising people. What you find gets the high numbers is easily appealing subjects: a baby, a big broad joke, a high concept. Everything is tested. The effect is to lessen the gamble, but in fact you destroy a writer's confidence and creativity once so many people are invited into the tent.