Abi Morgan Quotes
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Yes, I've heard of the 'Mad Men' comparisons, but I like to think 'The Hour' has its own distinctive voice. Although it is set in 1956, I have tried to give it a contemporary edge, and its themes of love, passion, romance, fury, professional jealousy, and personal failure are universal, I think.
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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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Eddie Marsan is just my favourite actor of all time. I love everything he's been in, so it's a dream come true to work with him.
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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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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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Writing a film is like giving birth to a baby and then giving it up for adoption.
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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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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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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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Now I would say I'm absolutely a feminist writer.
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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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I'm so straight and boring, really. I have two kids and a very nice partner.
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Having a daughter has reawakened my sense of feminism. I want to protect her.
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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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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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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 spent most of the Seventies living in Newcastle-upon-Tyne and most of the Eighties living in Stoke-on-Trent.
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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.
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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 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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I didn't take into account the critical tsunami that comes with having work going out. I've gone from being a complete narcissist, someone who googles my own name, to someone who has to work separately from that to avoid creative paralysis.
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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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I'm a writer of fiction. I try to write about my time, but it's dangerous if I'm seen as an investigative writer. I manipulate and change and control.