Colman Domingo Quotes

I started writing prose before I started writing television. Then 'Breaking Bad' came around, and to me, writing 'Breaking Bad' is like writing a novel each season. So it's been very creatively satisfying writing for the show.

I started as a writer; I started writing when I was little. The acting and directing was an outgrowth of my desire to tell stories.

Your instincts for what's dramatic are the same whether you're working on a drawing or on a script.

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

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

Matthew Wiener on 'Mad Men' writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.

I always feel like a script is a recipe, and then you bring the elements into the recipe, and you cook with it.

For me, writing is a part of directing. It's the first stage of directing.

Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.

I suspect there are two kinds of novelists. Those who have a point of view and have something to say and then write a novel in order to say that thing, and those of us who write the book in order to find out what we think about that thing.

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.

Our reward for Starsky and Hutch was getting to write The Six Million Dollar Man for Todd.

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

At the end of the day, it's really, really difficult to make a brand-new show, to write a pilot where you have to introduce characters and everyone has to kind of be dynamic and have something different for themselves.

When I wrote for TV, I was always thinking in terms of character and story. After fifteen years, it became hard-wired in me.

I grew up wanting to be a writer for theatre.

My instinct is to absolutely recoil when talking about writing in a mechanistic way. Nothing could be dumber than writing a film or TV script based on prescriptions, on other peoples' ideas of what character should be.

Like every novelist, I fantasise about film. Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from, and they're also relying tremendously on the creative imagination of the reader.

There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.

I enjoy the writing process and producing; I enjoy seeing an idea come to fruition. I'm driven by very complex characters. You look at the pilot of 'Breaking Bad,' where there's so much depth to the character, you can't help but be invested when you watch.

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.

Well, to be honest I think I'm a better short story writer than a novelist. Novels I find very hard, hours and hours, weeks and weeks, of conscious thought - whereas short stories slip out painlessly in a few days.

TV writing is different than other mediums, involving the writer.

Seriously, you know - I love to write. I enjoy the process; I enjoy the different processes, because writing for film and television and graphic novels is all very different. So I've never had the feeling of, 'Oh, you have to do this one thing.'

The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.