Marti Noxon Quotes
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Sometimes I say working on a story in a writers' room is like saying the same word over and over and over again until it doesn't make sense anymore. Like, you say it until you don't know what you're saying.
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Not proud. But I watched 'The Bachelor' only once, and I really felt, after that experience, that I could never do it again. I felt it was so morally compromising, as a woman.
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When people are like, ''UnREAL' is so dark,' I'm like, 'Hahahahahahahahahaha! Wait 'til you get to 'Sharp Objects.''
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The reason I fell in love with Buffy was because of the ambiguity, because she was a superhero and a hot mess. I hadn't seen anything like her on TV - ever.
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I did, of course, do research about what the current state of affairs is in terms of the eating disorder community and who's being affected, and I was surprised to see that - something that was - way back when I was in the thick of it, it was typified as a fairly white, middle-class girl problem. And if it was, it really isn't anymore.
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Being an aging woman in Hollywood is no picnic.
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Around 10, I got chubby. I knew I'd crossed a line when the only pants that fit were from the 'Junior Plenty' line at JC Penny. My parents had split up, my mom was going through a dark time, and my brother and I were getting bullied in our new neighborhood. Life was big and unsafe.
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There's this idea that Hollywood sells over and over again: 'If I just looked more like this, I'd be accepted.'
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That went on for a long time: telling various tales from my experience being anorexic and bulimic, and having people say, 'You've got to write this; you are a writer,' and me not knowing how to approach the material.
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Being the director - way fancier than 'just' being the writer. People call you 'talent.'
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Keanu has such generosity and intelligence, not to mention a warmth that I'm eager to tap into. We're all incredibly excited that he's agreed to help us bring 'To the Bone' to life.
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The status quo is never happy when things become a meritocracy.
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It's funny: I've joked that 'Sharp Objects,' 'To the Bone,' and 'Dietland' are my self-harm trilogy, and each one is a different side of that triangle, with 'Dietland' really about fighting back.
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Ever since I worked on 'Buffy', it's always helped me to find a genre container for something, and I was like, 'Oh, this is where the movie melodrama has gone to. It's gone to YA.'
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I've been looking for a versatile and writer-driven home that could help me bring more complex, exciting, and potentially murderous characters to television - and the team at Skydance is the ideal partner for that.
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With everything I do, I strive for a balance of tone, where it's not just one thing.
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When every word is parsed for ill intention, regardless of who is speaking or why, we become so afraid we'll offend that we stop trying to communicate with people we don't understand.
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'Just' writing is every bit as important as any other creative part of a film.
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You can't ever create defensively. You just have to create the next thing that really speaks to you.
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The truth is there's a difference between the competition shows where you're testing skills and the type of shows where you're trying to create drama.
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I think we're in a time when people are much more interested in a show than where you find it.
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When I was going to get ready to take 'Dietland' up, I have to say I was surprised to find that I felt like maybe we wouldn't find a home for it because it's unlike anything else that I've done.
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I've grown and changed, and I'm still making television and movies that I feel really proud of.
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I think women can relate to the feeling that we're internalizing too many demands, and we're trying to be good at everything, but one day, we're going to snap.