Payal Rohatgi Quotes

I'm trying my hand at writing. I'm writing a couple of projects for HBO, a half hour comedy and a miniseries.

You can be far more challenging, articulate and intelligent writing for television than you can writing for the cinema.

Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.

TV is where a writer can write his novel.

I'm very focused on 'Dexter' right now. I want to make it as good of a show as we can.

There are a lot of good stories out there, but I haven't found too many great scripts.

'Fanboys' was the first real screenplay that I ever wrote that was an original story with my own characters.

I write for film or, in this case, television when I haven't got a play cooking.

That's the great part about television: It's alive, and it changes and evolves with the way the characters evolve. Stuff that happens to you in your life when you're shooting a TV show, you have to be careful, because it might end up in the show.

When television gets in trouble is when it forgets that it all begins with the written word.

We all have great faith in the writing team that puts together 'Heroes.'

I'm especially keen to work with good scriptwriters on stories we have developed.

I want to do film and TV. I want to make good stories. I want to write; I want to be more involved.

In a good script, it's really like a treasure map. You just focus on that, all the answers are pretty much in it.

I don't usually watch a lot of TV, but 'Mad Men' changed my perspective. I admire Matthew Weiner who came up with the idea and wrote such a great TV series, and the broadcasting company for being bold enough to air such a series.

I look for the character to be something interesting, the script to have a good story and be original, and a director that I admire.

I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.

I want to write a play. I'd like to do an original musical. I should probably put together a poetry collection.

Sometimes I find it tiresome to write actions and describe the scene in a very intricate way so that every crew member understands where we are going - that I can find a little bit long and tiresome. But dialogue is just all my life. There's no way I could ever be challenged, not challenged, but I'm always so happy to write dialogue.

It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.

I like to say good dialogue is a million times easier to memorize than bad dialogue - difficult good dialogue, even if it's difficult. Aaron Sorkin dialogue is easier to memorize, even though it's wildly complicated.

I want to get off with the screenwriting.

I'd like to start writing scripts. I think I'd probably be inclined to write a very dark comedy or a tragic romance. As a kid, I used to write really dark stuff.

I definitely want make an impact in television. I want to make a continued and greater impact in feature films, and I want to be somebody who continues to be at the forefront of creating a wide variety of content that I could be proud of and that engages people on all levels.

I'll tell you what I miss most. What I would love to do, more than anything, is just anthologies. With an anthology you can tell any story and be in every division of television. We don't have any anthologies anymore, do we?