Abi Morgan Quotes
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I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.
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Stage is the place of the playwright: you're guided by great actors and directors, but it's the playwright's word on the page that counts.
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I used to believe in God as a child. God, for me, was linked with hope.
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I hope my pieces have an authenticity to them, but my job is to filter the world and tell a story, not to define and recreate exactly what's going on.
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There is an invisible aspect of being a writer; none of it is about you. It's about your work, and that's what it should be.
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There are so many actresses I want to write for. I see them, and I think, 'Why is she not playing that lead? What's happened to that actress?' I think all I can do is to write parts for women, to say, 'Keep going, keep acting, because there are parts for you. There will be those plays.'
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I write an actual script rather quickly - a draft will take me two weeks - but I write a lot of drafts. My big thing is I don't re-read. When I write, I never re-read back. I'll send it, because if I re-read back, it will cripple me.
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Chaos is my natural habitat. I write about chaotic situations and about people finding their way through the chaos, the hope that you can find your way.
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Writing a film is like giving birth to a baby and then giving it up for adoption.
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Now I would say I'm absolutely a feminist writer.
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As a writer, you're not even at the party when you work in film. At best, you're the one laying out the canapes.
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I'm so straight and boring, really. I have two kids and a very nice partner.
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It's quite good when you fall flat on your bum on a creative level. Critics can hate what I do, or I've got something completely wrong, and it's good because that ego thing gets zapped for a while.
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Of all the mediums, theatre is the one where you really need to have something to say - because it's just you, the words, and the space.
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I literally grew up in drama. I used to watch drama - the catharsis of the play - then see drama at home.
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Of course I am aware that there is a level of sexism in any large institution, but I find, in television and film, most of the producers are women.
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All work is a process of failure. Every single thing I write, I look at it and go, 'Do better. That's not good enough. Do better.' And so, that keeps me up at night.
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Having a daughter has reawakened my sense of feminism. I want to protect her.
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I spent most of the Seventies living in Newcastle-upon-Tyne and most of the Eighties living in Stoke-on-Trent.
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My mother came to see me in a play when I was a student, and afterwards, I asked her what she thought. She said, 'Honest opinion? No.'
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I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
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I think there is a difference between connecting with a character and supporting and believing their policies.
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One of the things I think I can do in my lifetime is stop to remind myself that - and keep affirming that - women can sell movies.
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I used to listen to 'Woman's Hour' every morning, but I've discovered that I can't have words on when I'm working.