Melissa Rosenberg Quotes

As far as the leading man/romantic lead, I'll tell you what, I really enjoyed my experience more than I thought or imagined I would on 'Catch and Release.' God bless them if they want to give me another shot at that. I would love to have that as something I can go to on occasion.

They're still working on the script - they've got to get that nailed down and they want the first movie to come out obviously, not get too ahead of themselves. But yeah, it's looking good. I love the second book a lot as well, so kind of diving into that is awesome.

I read bits and pieces of 'Twilight' as we were making it.

I don't normally think of a specific actor. I concentrate on the character, and then when we get into pre-production, that's how names come up.

I love rewriting because that is where and how you discover the story. It's like you have this skeleton, and you get to put flesh on it and hair and clothes and really wonderful jewelry.

It's nice to create a character, not just within two scenes, but within the journey of a whole movie. It's fun to do that.

Working on a green screen set, yeah, it's almost like reading from a novel, taking those black words and creating a world around you.

Well, I never got into the young adult headspace. With 'Twilight,' they are pretty adult themes, aside from maybe the first one, but even that. They're very adult themes, actually, particularly as the characters age. I never wrote for young adults. I wrote for myself, as an audience.

With every episodic, there's a learning curve where writers try to find the voice of the characters by way of the actors. Many details are found along the way. On 'Caprica,' although the franchise already existed, we were creating an entirely new world full of new characters.

One pleasure of working on a trilogy is watching characters warp and grow over time.

In 'Twilight,' you're setting up the world. You're introducing the world, and I was also writing in a vacuum because I didn't know who the actors were going to be. Now you're going to 'New Moon' and 'Eclipse,' and I could write specifically to them in my mind. So it becomes a more comfortable world.

My cartoon life is in my office, and it's very separate and getting very in my own head. My television life is I'm begging one of the actors to say the line in the way I'd like them to.

In 'Cavalry,' I had one scene where I was playing a pretty awful character.

I never write with an actor in mind - never.

'Ice Age' felt like stage acting. You'd write a sequence, and sometimes you'd submit pages, but other times, I would actually perform it for the directors and producer in my office.

I think if an actor is right for a role, casting sees that, and the words that are on the page, depending on how it's written, can really help your character develop.

To me, to spend all the time and energy and face all those creative challenges that you would spend for a two hour movie, you're inventing a world, you're inventing characters. If they're interesting enough, they should be compelling enough to go for five more episodes. How incredibly frustrating would it be to just do one movie?

Being an actor all of my life is kind of a collaborative, social form of interpretive art. Sitting down with a blank page every day by yourself is a different feeling.

With movies, it's 10 or 12 or sometimes even 24 weeks, if it's a massive movie, to live within a character. But with a show that's successful, if you start in the first or second season and go until the end, you're always finding new elements of your character that are being added in because you start to live in them as human beings.

I try not to think of actors as I'm writing because I think you do them a disservice by writing for things they've already done.

What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it.

In the first place, it's surreal to watch filming, to see the little ideas you had in your head and now Taylor Kitsch is doing it, or Salma Hayek. And then to see it loud and bright onscreen is a trip.

As an actor, you see a sliver of how the show is made, but to see the actual writing process and the re-writing process and the casting process and art direction and set design - all of this is happening in a very intense period.

I've been in a few films that have been adapted and, as an actor, the amount of resources and things you can gain just from reading the story, as well as the script, are so massive that it's something you just can't put down.

Chemistry exists or it doesn't, and I think casting is a very underappreciated component of filmmaking.