Abi Morgan Quotes
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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 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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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 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 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 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 always deeply admire people who can stay still in a room and wait for people to come to them.
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I am always running away from something.
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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 love the South Bank: every era of architecture is there, and you can stop, look, and listen.
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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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I was never cool as a kid.
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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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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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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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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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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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I know what it's like to be brought up by actors and writers.
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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'm the world's worst at reading reviews and then pretending I've read the book.
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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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You can't control how an audience responds to something. It's up to them.
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I don't look back. I don't look forward. I am totally now.