David Droga Quotes

Well, if storytelling is important, then your narrative ability, or your ability to put into words or use what someone else has put into words effectively, is important too.

I have learned that it is far easier to write a speech about good advertising than it is to write a good ad.

Everything in writing begins with language. Language begins with listening.

To make anything successful, you need a good writer.

The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.

A good novel is something that challenges perception, that allows you to see the world anew through a different point of view - something that genre fiction doesn't do, although it sells more because it doesn't disturb people's innate sense of what a novel should be about. Often, people want characters to be nice, for example.

I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.

My education - my Ph.D. in storytelling - comes from having worked on it, being a lover of film and watching them, from working with some great writers and some very good TV directors and then working with some who weren't.

As I've probably said before, television exposes writers to far more of the nitty-gritty than film does.

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

The intensity of the story breaking on 'Vampire' has never been easy. Every week, you're starting with a blank board and trying to make a new movie. There's no formula; there's no franchise to hang your hat on.

A writer can be subjective, even digressive, or introspective and certainly judgmental. This is a simplification, of course, but as a general rule, it holds true.

Ever since I was introduced to Ekta Kapoor, I have learnt a great deal from her storytelling, and the learning continues.

People, certainly in the U.K., look down on screenwriting as an art form, but I love the discipline of it. Next to the bagginess of novel writing, it almost feels like a martial art.

When I build for YouTube, there isn't necessarily an end goal. I have an idea of how I want a thing to work, but if it doesn't work that way, I can always adapt the story. The story is the main driver, not the machine.

Faulkner wrote for film, and his ear is just impeccable.

A decade in advertising exposed me to plenty of schemers and backstabbers. But honestly, advertising is wonderful training for fiction. Writing novels is much easier if you've ever tried to write a billboard.

I suppose on the filmmaking side, you can learn how to cram a lot into a small space. But I think that advertising, even on what is called the creative side, is incredibly easy if you have that kind of mind. A lot of people regard it as Machiavellian and dangerous, but, in fact, it is morally neutral.

As a journalist, as a screenwriter and as a director, I'm trying to tell compelling and truthful stories.

Whether it's 'Fish' or 'Annabel Scheme' or 'The Truth About the East Wind,' I often find myself crafting custom containers to hold the kind of content I want to create.

You spend so much time as a writer telling straight and linear stories.

I just read the script; everything else just follows. Content is the most important thing for me.

For screenwriting, when you're writing, you're talking to hundreds - hundreds of people who might be interpreting what you're saying. When you're writing a comic book, you're really only talking to the artist.

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

I don't know what that line is between fiction and non-fiction that other people have in their minds, but to me, when I'm writing, it's just like whatever the next sentence should be is the next sentence. It's not this artificial division.