Aaron Sorkin Quotes
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My way of getting the best from people on a set is to notice their work, to make every prop master, every seamstress, part of 'The Newsroom' or 'The West Wing' or 'Steve Jobs.'
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A news organization has a much different responsibility. I might not be telling you the whole story. I might not be telling you a story in a manner that is properly sophisticated.
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When we were doing 'The West Wing,' the hardest thing about doing 'The West Wing' was being compared to yourself. You go out there and want every episode to be as good as your best episode. I wrote 88 episodes of 'The West Wing,' and when you do that, one of them is going to be your 88th best, so your 88th best better be pretty good.
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I get the 'The New York Times' and 'Los Angeles Times' thrown at my door every morning. I'll read the front page of 'The New York Times,' then the op-eds, then scan the arts section and then the sports section. Then I do the same with the 'L.A. Times.'
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Well, I must tell you I write the scripts very close to the bone. So I'm writing episode seven now and couldn't tell you what happens in episode eight.
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The upside of web-based journalism is that everybody gets a chance. The downside is that everybody gets a chance.
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I find television, and particularly live television, very romantic: the idea that there is this small group of people, way up high, in a skyscraper in the middle of Manhattan, beaming this signal out into the night.
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I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
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Writing anything, it sorta starts the way you'd build a castle at the beach. You're just taking your hands and you're mounting up sand.
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The rules are all in a sixty-four-page pamphlet by Aristotle called 'Poetics.' It was written almost three thousand years ago, but I promise you, if something is wrong with what you're writing, you've probably broken one of Aristotle's rules.
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I don't have a great instrument. I don't have the kind of ungodly control over my voice and body that great actors have. And I've worked with enough great actors to know that I'm not one.
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As long as you keep one foot in the real world while the other foot's in a fairy tale, that fairy tale is going to seem kind of attainable.
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Our responsibility is to captivate you for however long we've asked for your attention. That said, there is tremendous drama to be gotten from the great, what you would say, heavy issues.
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First scenes are super-important to me. I'll spend months and months pacing and climbing the walls trying to come up with the first scene. I drive for hours on the freeway.
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I've always thought that there is a great female James Bond movie to be done. I'm not literally calling her Jane Bond, I mean, but a female secret agent.
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I spend most of my days pacing around, muttering that I have no ideas, feeling like I'm walking a plank.
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I am truly at my happiest not when I am writing an aria for an actor or making a grand political or social point. I am at my happiest when I've figured out a fun way for somebody to slip on a banana peel.
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There are some screw-ups headed your way. I wish I could tell you that there was a trick to avoiding the screw-ups... but they're coming for ya. It's a combination of life being unpredictable, and you being super dumb.
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The rules of drama are very much separate from the properties of life. I think that's especially true of Shakespeare.
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When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.
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I do not diminish the incredible symbolic importance of a black man getting elected president. But my euphoria was a smart guy getting elected president. Maybe for the first time in my lifetime we had elected one of the thousand smartest Americans president.
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We're about to shoot an episode on Air Force One, for instance, and we're going to take liberties, small liberties, with Air Force One, as we take small liberties with our White House set.
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I think I would have done very well as a writer in the Forties. I think the last time America was a great country was then or not long after. It was before Vietnam, before Watergate.
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Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.