Elizabeth Meriwether Quotes

What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.

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

There are so many female roles - particularly for young women - that are just somebody's girlfriend or somebody's daughter, or that are accessories to the main story rather than being three-dimensional characters.

I just like to go where the material is, whether that's TV, or movies, or the stage. As long as it's great writing, it's pretty much something I can't resist.

Something I've really been wanting to do, ever since 'Six Feet Under' ended, was create my own version of this idealized writer's room as well as the ideal family.

I find myself really feeling like it's possible that maybe the greater contribution I'm going to be able to make through this next phase of my life might be as a writer writing wonderful parts for women, or even writing wonderful parts for myself, you know?

Sometimes people are like, 'Do you want to play strong women?' I don't have to play strong women in order to feel like a strong woman myself, but I do feel it's important to play characters that are complex and interesting and believable.

From its beginning, fan fiction has been written mostly by women. Originally, this was because of a dearth of interesting female characters in conventional sci-fi.

I'm so sick of hearing how there's no strong roles for women. I don't care about strong roles. I just want to see women who are characters! A nun, a serial killer, a housewife, as long as there's some depth there.

I won't take parts where the female character has no substance.

I try to write parts for women that are as complicated and interesting as women actually are.

I definitely want to do more movies, and I'm also a writer, so I have a few screenplays that I'm working on, one of them based off my one-woman show that I used to do in New York. Two of the screenplays I've written by myself, and then I'm also working on one with my writing partner, Tom Riley, who's in London.

As a writer, as much as I try, I can't stop writing female characters. They have so much more to offer; they have to wear so many different hats. There's so much wonderful gray matter in a female's life that it just makes for a stronger character.

I believe that the story is the most important element of any medium whether it's theater, film, TV.

I started out my career as a screenwriter and quickly discovered that adhering to a script isn't always the best way to make a film. You have to take into consideration the nuances of the characters and what the actors bring to their roles.

No other aspect of filmmaking has tempted me to do a film other than the script and the story itself.

'Talullah' is a movie I'm really proud of. Sian Heder is the director/writer, and I think she's extraordinarily talented. I think it was a beautiful story.

I became interested in educating people in the variety of ways in which women can express their emotion. Which is much easier to do in a large role than in a supporting role to a male protagonist. In general, the women in a supporting role to a male protagonist - cry a lot.

I enjoy acting, and I appreciate people who have passion about what they're doing and have a vision about the film they're trying to make.

Whether it is television or film, the character on the page has to speak to me.

I've been looking for a versatile and writer-driven home that could help me bring more complex, exciting, and potentially murderous characters to television - and the team at Skydance is the ideal partner for that.

I've been doing some acting, writing classes, and taking a holistic approach so I can actually be good at this craft. But ideally I'd eventually want to get my own show and make my 'Atlanta' or my 'Master of None' - whatever that would look like - in whatever media landscape that would best suit it.

Whether it's theatre or TV or film, you're hoping you're going to bump into a writer that's got a bit of honour in him, that wants to tell a good story and is able to tell it well.

I get to watch stories I wrote brought to life by the most brilliant actors in cinema.

I'm very proud of the fact that the women on 'The Americans' are written to be equally complex as the men.