Marti Noxon Quotes
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On 'Sex and The City', when Carrie talked about money problems, I would always think, 'Sell your shoes!'
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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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I encourage people and their different points of view.
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The dream of doing what I do started with watching movies by Mr. Spielberg, like 'Close Encounters,' 'Poltergeist,' and 'E.T.' That was the beginning of my obsession.
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I think my biggest problem as a creative person trying to work within a business for profit was that it was very important to me that people liked me. Over the years, observing other showrunners who made work that I so admired, I realized that that had to go. This couldn't be my first priority. My first priority had to be the work.
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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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Test audiences are notorious for getting kind of itchy when people talk too much, and you have to trust your instincts that they don't necessarily understand that you're not digesting the movie on a scene-by-scene basis.
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There's no shape or body type that makes you more happy or more lovable. It's the body you're comfortable in that makes you happier and more lovable. I look around and see how women and men of all types find the love and the life they want.
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I don't like characters who are either good or bad. I just don't experience that in life, so my writing hasn't evolved that way.
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If you made a movie of 'Sharp Objects,' chances are that it would be a smaller film, but as a TV show, it can reach a lot of people.
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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.
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The best feeling you can ever have when you're working on a show is that the characters are still inside you, and they have a lot left to do.
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My dad had made a documentary called 'The Dream Factory' about MGM, and my whole life, I just wanted to be inside it. And there I was.
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It's interesting because the first batch of really struggling with control and escape and all that happened when I was nearing adolescence, and the second one came with the onset of early menopause.
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One of the good things about consulting is that you leave the writers' room for a couple of days, things progress, you come back, and you might have a fresher take.
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The problem with generalizations and judgments, the words we hurl as insults, is that they deny our humanity and our stories.
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I'm lucky to be alive. It's a blessing to tell my story, you know.
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I really understand that we have to be sensitive to people's feelings and to their sensitivities, but you also can't be muzzled to tell a story.
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A show can be completely dead before you even get on the air. I've been privy to a couple of those.
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I think the science around mental illness is always evolving. There's always new kinds of thinking.
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I'm a big believer in 'Trojan horses' - There are certain themes that are more palatable when wrapped in something fun or distracting.
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There're been sort of a sea change in my work in general, in that the more personal, the universal it's become.
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You can be a sophisticated person and still have really old ideas about what love is supposed to look like.
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The thing that can happen in a TV room is you can get 'teamthink': you can all go down a crazy path together.