Screenwriters From The United States

"What happens is this: when we come to believe that the only way to make change is to murder one another, the idea of “the other” makes less valuable the human life it possesses. As a consequence, we can kill the “other” and not feel guilty. Unfortunately, human beings spend too much time rationalizing that war is right under certain circumstances; that it’s okay to threaten and kill other human beings."

"The thing that drew me to Forster most specifically, I think, looking back on it, was I was picking up on what I would call 'the vibrations’…And 'the vibrations' were a closeted gay man in the early 20th century, at that time, speaking to a closeted gay boy at the end of the 20th century."

"We would get letters from Nebraska. I’ve talked to Latin Americans, whether they’re from Colombia [or elsewhere], and they have somebody like that in their family…If you make it authentic, if it touches you, it doesn’t have to be your experience."

"I have never felt that Hollywood is mine, and I've never felt like the King of Hollywood. I've always felt lucky to be included... to be invited to the party. I guess because I've never expected my career to be as successful as it has been – I'd still be acting for free in Dallas, Texas if La Bamba had never come along. This has always been my love and my passion – my work – and so to be doing it at the level I'm doing, I'm quite happy…"

"I love these characters that have a duality to them. I wanted to be Han Solo not Luke Skywalker. It’s more realistic for me, nobody is that square, especially in today’s world. We all have two sides to us, and that’s what makes us human. I love the movies where everybody was an outlaw in some way…"

"When I did La Bamba and Stand and Deliver, I marched with Cesar Chavez and fasted with him. Whatever I have directed, I've flipped roles to be more inclusive of ethnic, female and LBGQ performers. This is a flag I've waved from the beginning. I got into the door and kept my foot in it so others could come in behind me."

"My overall philosophy was to continue to do good work, to expand my range, and to show that range. I think Hollywood can certainly try to put you into boxes. My entire career has been somewhat of a reflection of my college theater experience, and that was, I did everything. Not only did I do Shakespeare and Molière, but I did Mamet and John Patrick Shanley; contemporary playwrights. I was writing in college, I was directing in college, and when I got to Hollywood, I tried to continue that. I think my first three roles in Hollywood are somewhat indicative of that. You’ve got 'La Bamba,' then 'Stand and Deliver,' then 'Young Guns.' All three films are very different, and all three characters are extremely different."

"Once you wrap your brain around playing your age, it's a very, very positive thing…"

"There is also the inheritance to younger gay men, of the generation that is coming up right now, of a responsibility and a debt to the generation that came before them…The generation that fought tirelessly to be able to walk down the street and hold your partner's hand, to kiss your husband in public, to get married, to just truly be accepted for being who you are and loving who you love."

"I came into it equipped with these principles because of my Asian-American-studies background, but there was certainly a negotiation that had to take place just for me to get a foot in the door."

"What happens when you populate a movie with a lot of Asian-American people is that they get to be people."

"I mean there’s something magical about filmmaking and people that work within film. It’s the most beautiful thing, because so many people are coming together and they just think about a common goal. It’s almost similar to the military, but all of a sudden you’ll be in there and you’re about to do something and everybody is thinking about the next person. It’s not always the case, but the films that I’ve worked on it’s been that way, and it’s amazing. It makes you want to work harder…"

"We went to the visual and the acting. You would lose some jokes if you didn’t speak both languages, but you didn’t lose the thrust."

"The teenagers have been sucked into American culture overnight, while their parents are concerned with preserving roots."

"To us, it was important throughout the writing process that we put things in that were funny, number one, but also that felt like they came from a real place. And the conversations these characters have, reflect on the conversations we have. For us, it didn’t really feel like we were making any commentary or making any stereotypes, it was really us trying."

"I can never predict what is going to capture my interest and draw me to create. I think it comes primarily from curiosity. I like to play the “what if” game with subjects. “What if slaves owned by Jewish families adopted that religion?” “What if a family living in the proposed footprint of Lincoln Center in 1959 were completely devoted to Jerome Robbins and his work?” “What if a straight guy became a drag queen?” That leads to the next important question of “why?” And then “who?” And so on."

"I was super-excited to do it, but I still felt a little nervous about it and I felt like my parents would be a good way for me to test if this was OK…They’re immigrants, and they understand what’s going on over there a little better than me…As soon as I brought it up to them, they thought it was hilarious."

"A lot of people want to tell me their stories, and it’s not just the people who were alive back then. Though the play deals with AIDS, it’s about more than just the epidemic. It deals with things that plague gay men now. It’s very much about addiction, too. And the audience’s experiences run the gamut. And these audiences feel emboldened in the best way possible to not keep secrets. And they feel like they trust us enough to tell us their stories. It’s a beautiful thing."

"The Vietnam War was raging at that particular time, so I wanted to do a positive play about a country character who was yearning for his home, as I was doing at Christmas…I drew on my experience growing up in the country - plowing mules, cropping tobacco, bootleggers, going to church. The rest was my imagination. I wanted to do something that could be performed on the streets - I love street theater. And I wanted my character to have a conscience."

"I wanted to write a play about racism, about poverty, about the negative forces that haunt us and make us murderous—and the positive forces that do daily battle for us—like love, friendship, family—which lead to some kind of hope..."

"Respect your history, listen to your ancestors, tell the truth, and write your own story—or someone else will write it and get it all wrong."

"My parents were migrant farm workers who moved between Los Angeles and the San Fernando Valley. I was born in Delano and that's where the ranch was. For my dad, this was the high point of his life. The whole family was very proud of the fact that he had a ranch and we had family events out there. When we lost it at the end of the war it was a tragedy. We were back on the migrant path, and I remember asking my older brother, "What happened? We used to be rich." And he said, "We weren't rich, we just had the ranch and it wasn't even ours." He was older so he was wise to the fact that the Japanese-Americans had been forced out. I realized with a shock and a sense of guilt that we'd taken over somebody else's ranch and they'd been imprisoned in a camp."

"It was bad enough in 2013, and it's worse now. My approach to political theater is that the way to the mind is through the heart. If you can touch the heart, then people will come to the ideas themselves. The American idea of social equality and human respect has to be constantly defended from generation to generation. What happened to the Japanese is echoed tragically in what's happening to Latinos on the Mexican border. Those are prison camps and in some ways the Trump administration is declaring war on Latin America. It's a struggle, but I'm also an optimist and I know it won't last forever."

"History echoes. We mustn't ignore the past, because we're constantly reliving it. Just like the seasons that these farm workers organize their lives around, it's all a big cycle."

"We were and still are recreating our own reality. Our vision is that we have been a hard working, courageous people. There have been three prevalent images of the chicano in this country— 1) the pachuco, a violent, urban vato loco; 2) the farmworker, a passive peon, Don Juan-Yaqui brujo type; and 3) el Spanish grandee or Latin lover type."

"Luis Valdez said it long ago: The beauty and the frustration of theater is it is one permanent long shot…You never get up close in someone’s eyes. And that kind of blew me away (while shooting) a close-up. That was all new storytelling for me, and I had to figure it out on a very fast learning curve."

"People would call us "dirty Mexicans." I remember going to a movie in Reedly where we weren't allowed to sit in the Anglo section. We were told by the ushers to sit with the rest of the Mexicans, because this section was reserved for whites. Those are things you never forget."

"I mean, I’m middle class. I’m upwardly mobile. I’m not a communist; I’m not a socialist. But when I visit the prisons, when I see the new homelessness in L.A., when I see a declining middle class and the growing Occupy movement in a rich-get-richer America, I find that the remnants of colonialism are alive and well. In the barrios, on the reservations, and certainly in parts of the Sonoran desert on the American side…"

"We thought that would be fun to honor the people that do the mundane daily chores, the people that are part of the work service backbone of places like Los Angeles and Orange County…So much effort is made to vilify [these people]."

"She already has the righteous, eye-rolling cadence of a conspiracy crackpot. She might as well wrap her head in foil."

"I don’t want to be married to a woman like you. I want to be married to a normal person."

"“My gosh, Nick, why are you so wonderful to me? He was supposed to say: You deserve it. I love you. But he said, “Because I feel sorry for you.” “Why?” “Because every morning you have to wake up and be you.”"

"The media has saturated the legal environment. With the Internet, Facebook, YouTube, there’s no such thing as an unbiased jury anymore. No clean slate. Eighty, ninety percent of the case is decided before you get in the court room. So why not use it—control the story."

"There are variations to the window dressing, but believe me, he wants Cool Girl, who is basically the girl who likes every fucking thing he likes and doesn’t ever complain. (How do you know you’re not Cool Girl? Because he says things like: “I like strong women.” If he says that to you, he will at some point fuck someone else. Because “I like strong women” is code for “I hate strong women.”)"

"You can’t be as in love as we were and not have it invade your bone marrow. Our kind of love can go into remission, but it’s always waiting to return. Like the world’s sweetest cancer."

"I’m typically not into thrillers, but her books are so pleasurable to read. I can stay up all night reading them because I simply can’t live without knowing what happens next. Her women characters are so flawed and broken and interesting. Those are my favorite kind of characters for reasons that are probably very obvious."

"We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can’t recall a single amazing thing I have seen firsthand that I didn’t immediately reference to a movie or TV show. A fucking commercial."

"…soldiers on the battlefield of consumerism, armed with vinyl-covered checkbooks and quilted handbags."

"I can see people milling about under the fluorescent lights. It’s the kind of place where people mill about."

"I am fat with love! Husky with ardor! Morbidly obese with devotion! A happy, busy bumblebee of marital enthusiasm. I positively hum around him, fussing and fixing. I have become a strange thing. I have become a wife. I find myself steering the ship of conversations—bulkily, unnaturally—just so I can say his name aloud. I have become a wife, I have become a bore, I have been asked to forfeit my Independent Young Feminist card. I don’t care."

"It’s incredibly misogynist to tell me I can only write a certain type of woman. Because that’s saying women must be a certain type of person. That puts us back to the Stone Age—like women are saints and therefore not human and if we stray beyond that model, we’ll be severely punished. It denies us any humanity. It doesn’t even bother me. It just bounces off me. It’s such a ridiculous notion that my novels are misogynist because I don’t write the kind of women you want."

"Sleep is like a cat: it only comes to you if you ignore it."

"I’m so much happier now that I’m dead."

"I wanted to make it clear that the show’s about a matriarchy. I wanted it to be clear that power can be ugly, and a matriarchy is just as ugly as a patriarchy. It may look a little different, but power is bloody."

"…I also wanted to make sure no one tried to make her “save the cat.” To me, Camille is an inherently kind person despite everything that’s happened to her. And you see that when you walk through the day with Camille. You see how she treats people. But she’s not running around saving babies and kittens just so the audience can be sure she’s a good person."

"I think there’s a deep societal fear of female rage, partly because it hasn’t been experienced a lot. Men—I speak in vast generalities—are often very afraid of what they don’t know how to handle. And they haven’t had to handle female rage a lot, and they think they need to handle it."

"I loved being scared as a kid. I loved the darker side of humanity. That was in my brain, even from a very early age. I was always thinking, “What could be the scariest outcome of this situation?” My cousins and I were kind of raised in a pack together—all girls. They always wanted to be princesses. I always wanted to be a witch. Or a killer. My head just went in that direction. Maybe because my father was a film professor, I developed a taste for Alfred Hitchcock. Films like Psycho scared me just the right amount. They didn’t haunt my dreams in a terrible way. I like that sensation of being scared. I’ve always been one of those people who wants to know what’s underneath the rock, what’s down the corner, what’s down the blind alley."

"If you are someone who reads books to feel like you have a friend on the page, my book is not going to be the book for you…I write for people who are readers the way I'm a reader. I don't care if I dislike a character; I care if I find them interesting or they make me laugh, or if I'm trying to figure them out. I am always more interested in that."

"I want to have it all. I want to have a family, a career, and a side piece."

"...Not at all. It’s interesting. I was an Asian-American studies major in college. For a long time, I thought I would go into academia and become an Asian-American professor, and then I fell in love with stand-up comedy. I never set out to specifically speak about representation though — it’s so hard to even just make a joke. I do whatever is first and foremost funny and interesting. Sometimes that happens to concern Asian-American identity, but not a lot of it. But it is something I will always be interested in."