Kem Nunn Quotes

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

TV writing is for people who hate being alone more than they hate writing.

If you want to tell stories, be a writer, not a filmmaker.

I have a pretty big TV background, and I have clocked so many hours in so many writers' rooms over the years.

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

I find that screenwriting is at best kind of a hackwork in some ways.

I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.

I feel like there's a lot of great writing on television.

There's such good writing now on television and I don't see a lot of great writing on films sadly.

I think watching TV has influenced my books, but I don't think writing TV has.

'Analyze This' is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing. I always think that the writer is doing the vast majority of the director's work, in a sense.

I wanted to do screenwriting. That's what I went to school for, but my major was overfilled, and when I got 'The Daily Show', I was a semester away from officially starting my major, so I never started that in particular.

All the writers for 'The Chi,' they're all phenomenal, so I'm just working on projects with them. They have great scripts.

There are a lot of good writers in TV!

I would say, A, you can't really teach anyone how to write good characters, because it's something you have to teach yourself or already have innately in you as a storyteller, and, B, coming up with a good screenplay is a very, very small fraction of what it takes to be a good screenwriter.

I love television, and my love for it has made me curious about writing it. It feels like television's moving toward something more novelistic, and that's what I started wanting to do. But I can't say that I'm dying to get notes from a studio. The artistic control that you get as a playwright is worth its weight in gold.

To sit down at a computer every day and write a script is commendable. I don't have the patience for it, but I have some fantastic ideas.

I love the writing process. It's something that I'm interested in personally and something I always do on every movie.

Of all the disciplines involved in making anything - TV, film or anything I do - the writing is the most valuable commodity.

I was a novelist first. But in the mid-'80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, 'You know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.'

I don't read books on how to write screenplays just because I'm stubborn. So it's all sort of made up.

The novel, for me, was an accident. I really don't consider myself a novelist.

Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.

I am happy that I'm a better novelist than a screenwriter.

I'd love to work on a script in collaboration.