Screenwriters From The United States

"Joan Micklin Silver was one of the most courageous artists I ever knew. She knew she could prevail at a time when women were not being taken seriously as film directors. We have all been deprived of seeing so many many other great movies that Joan was ready and prepared to give us."

"The pathbreaking movie director Joan Micklin Silver got to have a career that almost no woman was allowed to have, and did not get to have the career that she deserved. Such is the paradox of the pioneer: You get to go where very few have gone before, but when you get there, there’s nobody to pull you up or push you ahead. You make your own way, and withstand the indifference, the hostility, the condescension, and the people who treat you as a curiosity or a slightly troubling anomaly."

"Abstract notions of feminism never interested Joan; specific women and their stories did. Yet without setting out to do so, Joan Silver influenced generations of women to come. She was a trail-blazer, a risk-taker, a champion of other women directors. And always as quietly confident as she was the day I met her some fifty years ago."

"We were so young and had never produced anything, and Joan was infinitely patient and remarkably assured on the set. We learned so much about movies from her. And she really knew how to talk to actors. John [Heard] could be tricky — he was moody and had a tough reputation. But he never gave her a moment of trouble. (memories of the production of Chilly Scenes of Winter)"

"I really love being the person who in the end gets to make the decisions and have it become the way you want it to be and that urge is an overpowering urge that I have that makes me want to make films."

"It's a human truth that romantic fantasies are very hard to let go of and while it would be very nice to say Izzy, observing the difference between the two men realize that immediately that Sam was the better choice. I mean maybe you know maybe you work more rationally than than Izzy I don't know. But I mean the thing is that that you don't always do what's good for you, you know you don't always do what's right for you and sometimes you have to grow past it or go through something in order to reject it. (discussing the lead character's decision making in the film Crossing Delancey)"

"Great American filmmaker not nearly revered enough, I think she should be talked about alongside John Cassavetes as people who really moved the needle for American Indie Cinema, like after World War II and before Sundance."

"It’s not necessarily overtly racist, but it is shocking the way people have talked to me in my position as a director. People who work for me. Especially on a movie like this, where Jordan was the only other person of colour at the level of decision-making on the movie. And that’s unacceptable, frankly."

"He’s a person, which is the whole point of this movie. He’s not just some like floating demon slayer, and it’s a really tricky balance…He’s someone who clearly has a lot of pain, and that’s something I find really interesting about him as a character."

"I love horror and I felt like I had a really good idea about how to make something scary, but also I’m very measured, especially with a story like this, about what is appropriate and what is not appropriate."

"I would have hated getting the question, ‘Isn’t it so timely right now, with all these deaths going on?’ That’s not why we made it. But I think it will happen again – a summer like last summer. I think that the story we’re telling was about that: the fact that it’s cyclical. It could come out next year, it could come out any time and still be relevant."

"My fascination is with relationships at their most microcosmic. The more epic, the more uninteresting the film-making becomes. It becomes about getting the perfect crane shot."

"Good drama (and comedy) often comes from the simple act of placing characters in a situation that is not usual nor comfortable for them."

"I want my movies to feel like you’re paratrooping into somebody’s life."

"The genesis of the vast majority of my films is an actor as a muse that I want to work with. Humpday was Mark Duplass, Outside In was his brother, Jay Duplass, this movie was Marc Maron, who I’ve been really wanting to make a movie with for three and a half years. Then there’s other things, like a territory I want to explore or an element I want to return to, like improvisation, which I haven’t done since Your Sister’s Sister."

"As a filmmaker, I really am most interested in humans and their deep desire to connect to each other. How do they get through their own lives? Where have I come and where am I now? And where do I want to go from here? It’s all of those humanistic questions."

"I can't speak for everybody, and I don't want to say it for an entire culture, but for me, coming from an immigrant family, it's very difficult to go find your voice, which requires a lot of failure."

"The questions I want to ask will revolve around humans, connection, relationships, family, and stories - what are the stories we tell ourselves and each other?"

"We all have different aspects of ourselves, and who we are to different people in our lives, at different stages of our lives."

"Sometimes America is so great because it brings all of us together, but sometimes it can be so limiting because it puts labels on things."

"There have been moments where I laughed at my own family's culture, though it's hard to separate out whether something funny is cultural, or just my grandma specifically."

"Americans always talk about family love being unconditional, and I realized that I didn't feel that way."

"There's so little representation of people who look like me behind the camera that it makes you want to say yes to any opportunity out of desperation. It puts you in a situation where you can't make your best work. Diversity for cheap."

"So whatever decision you make, you're going to be able to find stories or signs to say 'I did the right thing,' because we have to believe we did the right thing in order to survive."

"I think people have this romanticism of the homeland, and that’s just not the reality for me. Every time I go back to China, I feel more American than ever, so it’s this question of, ‘Well, where is home?’ We’re always searching for it and never fully fitting in."

"It’s so much easier to tell a fish-out-of-water story when the person is blond and blue-eyed going to an Asian country, for example. But what is it like when you look the same as those people, and you’re expected to fit in? How do you put that interiority on screen?"

"In my family, and especially when I go back to China, it's always like, prepare your stomach, because it's the way that they express love."

"People are always asking me about the importance of representation and identity in relation to making The Farewell and of course those things are really important to me – thinking about my identity and exploring my identity in the west. But I would love it if men – white men – were also asked the same questions as me. They should be asked these questions so they can be more conscientious about how they’re representing people, how they’re not representing people, and aware of their own blind spots."

"Of course, it’s very nice. Because I’ve done this for a long time and just in life, I’ve learned to live with very little expectation. Then, you’re not let down. The more you expect, the more you’re going to be let down and disappointed. When everything comes together, it’s just a nice bonus. A lot of it has to do with trust because of who these people are. There’s an integrity behind it that I feel is genuine. I trust my own instincts. I saw the passion and the commitment they put into making sure that show is as good as it could be, in a respectful way, to Bruce Lee and the legacy that he left behind."

"One thing that I was aware of was that, whatever I do as an Asian American actor, I should try my best to bring something positive to the image of an Asian American."

"I never set out to be an actor. I always knew that I wanted to direct and produce movies. I’m well aware that I was very lucky. My career started out with a bang and I’ve had incredible opportunities to do very good projects and work with wonderful people. I would be lying to say that I wasn’t aware of the success and the fame that it brought me and the cast members of 21 Jump Street. At the height of the show, we literally couldn’t go anywhere. We all enjoyed that, but I had enough sense to know that all of that would be gone, at some point. Nothing lasts forever. So, I continued to keep working in any way that I could, but I never really thought of the trajectory of what kind of career I was going to have, and certainly not where I ended up today."

"I'm gay in my art and straight in my life."

"His hatred, his loneliness, whatever that he had, his angst, he could not let it go. He had to try to drown it in alcohol. But that's like pouring gasoline on a fire. But he just would not stop. And it was common sense that he should do that, so I'm not sure that he had common sense. He would make people mad and cause fights, and then run, hide; he wouldn't be there. He would, you know, take a punch here or there, but he was not a fighter. He was a little, bitty guy. You could deck him with one punch. I probably could have, you know?"

"The whole underside of our society has always been violence and still is. Churches, laws--everybody seems to think that man is a noble savage. But he's only an animal. A meat-eating, talking animal. Recognize it. He also has grace and love and beauty. But don't say to me we're not violent."

"I did this one script for ' that turned down--said it was a piece of shit! I knew it was one of the best things I'd written, so I took it back and reworked it and at Four Star bought it as a pilot for '. Dick Powell was really a fine gentleman and the eagle behind Four Star's success; he helped me a great deal. I didn't direct the first Rifleman; did that. I just wrote it. I did direct four of them before I left, however. The first one I directed I also wrote, called "The Marshal." It was the episode that brought in as the reformed drunk who became the marshal--a part he played for five years."

"Sam and I work well together. I would go to and from work with him, so we would have that extra time to talk with each other—that kind of thing is very unusual, but I think something comes of that proximity."

"I walked from the series because Jules Levy and that group had taken over my initial concept and perverted it into pap. They wouldn't let Johnny grow up; they refused to let it be the story of a boy who grows to manhood learning what it's all about."

"We've all grown up with the idea that gunning a man down is just fun and games. All of us, as kids, played cops and robbers, with toy pistols or pointing a finger at somebody and saying, "Bang, Bang. You're dead!" Both the movies and television have perpetuated the idea that shooting a man is clean and quick and simple, and when he falls down there is only a small hole, or a blood-stain, to show how he died. Well, killing a man isn't clean and quick and simple. It's bloody and awful. And maybe if enough people come to realize that shooting somebody isn't just fun and games maybe we'll get somewhere about violence on the screen in the first place. [...] No, I don't like violence. In fact, when I look at the film myself, I find it unbearable. I don't think I'll be able to see it again for five years."

"I said to him, "Well, I'm just trying to find out who Hildy is, and it was out in the open, in the western street, and he yelled at me, "She's you!" You know? Like, in such a way as to say, "You're the whore," you know? He was not very nice. And he did that to men to rile them, too. There have been many men who have done things to get even with Sam, because he had no tact."

"The Losers was a funny show. We had and locked up for a series with it until Tom McDermott wouldn't pay Lee's price. Well, after the show continued to draw a large segment of the audience around the sixth time out, McDermott called Lee and raised the ante to something like a million dollars and Lee told him to go stick it up his ass! I've always liked Lee for that--it cost me a lot of money at the time but I would've done the same thing in Lee's place."

"It would've been nicer if he didn't pose as he did, and sit behind sunglasses that have mirrors on them so that no one could see his eyes. Because he was such a liar, he was afraid to get caught, because if you look in someone's eyes deeply enough, you can tell they're lying. So he was afraid of that; he wouldn't let anyone see his eyes."

"[T]he story [...] was really more representative of how Sam thought than any picture except Ride the High Country. He liked to laugh at things, if no one was around to catch him at it."

"Sam's like a fight trainer. He shapes you up, he psyches you, he draws everything out of you. He's subtle, though, yet baroque, and I want to get into that baroqueness. Like the other day, during a scene in which I was supposed to be answering the door and registering surprise. Well, it was the end of the day and I wasn't acting very surprised, so he smashes a beer bottle behind me, right out of camera range. I mean, Christ, I nearly jumped out of my skin. But he got what he wanted."

"I was told they'd hired somebody for Leonardo and then they fired him. And then they hired another guy and then they fired him, too. So they said, "We're still looking for this guy to do the turtle." I thought, "What the hell does a turtle sound like?""

"The thing that I learned from Night of the Creeps that went going into Monster Squad and anything else that I had done since then is to have a stopwatch and make sure that however long it takes to play the scene or the take, that we do a couple at different speeds and presumably faster. If you look at the Preston Sturges comedies of the forties or some of the great comic directors of those days or even Howard Hawks, where he had everybody talking over each other very quickly. I think that's a great litmus test because people will almost never blame you if your movie goes too quickly, but they will get their noses out of joint if it's too slow. So the lesson I learned on Creeps was pace. But there's times when it takes its time and that really, really works for it. Making movies is trying to catch lightning in a bottle and it's very, very tricky to do."

"CGI is a wonderful tool but I believe it’s mostly mis-used. Or maybe more to the point: OVER-used. I truly believe we have a little chip in our head that subconsciously tells us when something we’re seeing isn’t real… and therein lies the danger of CGI."

"I wrote Novitiate because I saw in a nun’s world a unique and profound way to explore the subject of the way women love. That is what remains at the heart of the story for me. … When I finished this movie, I had a new understanding of religion. I have now a deep sense of admiration and enduring empathy for nuns. Not to mention all the extraordinary sacrifices these women were willing to make, in the name of their love and faith."

"My dream participation would be to make as much money as humanly possible for doing nothing whatsoever."

"I think the key to a great romcom is to not fight against the genre,” she explains. “The trend more recently has been to apologise, or be snarky, so it’s an anti-romcom.” Out comes that wide smile. “Just lean in and embrace the fact it’s a love story and it’s funny and it’s light. It can still be uber-smart and deal with zeitgeist issues."

"I just happen to be someone who happens to like the fear to be created in my mind. That’s why I like the more minimalistic approach. It’s just a taste thing. I’m not as into the blood and guts."