Abi Morgan Quotes
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I always say writing a play is like toothache: I find it incredibly painful, and it's only once the play's out that the pain is gone.
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I always deeply admire people who can stay still in a room and wait for people to come to them.
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I love the intimacy of TV. I love the fact that you don't necessarily have the pressure of an audience or anyone around watching it - just you and it.
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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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'Tender' is my most strongly autobiographical play.
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I think casting is everything. You get a great cast and - certainly, as happens in 'The Hour' - so many of those performances on the page were transformed by those actors who took those parts and made it into something completely different.
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I am always running away from something.
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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 love the South Bank: every era of architecture is there, and you can stop, look, and listen.
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London does two things for me: it makes me feel connected, and it also makes me feel very isolated and quite lonely at times, and that's someone with two children in their family.
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I was never cool as a kid.
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I understand this fear of the word 'feminism,' and I understand the fear of saying it because it becomes as divisive as 'sexism' has become. But I know a lot of male feminists.
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The thing I love about London is that it is filled with migrants, including myself.
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Plays are the marathon of scriptwriting. You fix on a point somewhere in the middle distance, and you start running, and you don't stop until you get to the end. The theory is that you have something you cannot not say: this is the engine that propels you through to the last page.
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I know what it's like to be brought up by actors and writers.
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I never know if I'm the builder or architect. The role shifts all the time. But what I have come to conclude is that the script is the muse.
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Cornelia Parker has inspired a lot of my theatre work. Her art is about points of impact: it's poetic but with a strong literal story.
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When you see in this country and every other part of the world the huge pay disparity - in Hollywood, in every profession in the U.K., globally - and you see what is happening to women in every country socially and culturally, you can't not be a feminist.
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I think that, as a writer, while it's your job to construct stories, you have to navigate your way through them with your heart.
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I had a huge interior world as a kid: I'd sit on endless wet holidays in Cornwall playing with paper dolls.
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You can't control how an audience responds to something. It's up to them.
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I can understand a family that's imploding. I have experience of that in my own life.
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I don't look back. I don't look forward. I am totally now.
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I'm the world's worst at reading reviews and then pretending I've read the book.