Andrew Rannells Quotes

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

It's much like writing a screenplay with someone else and that's how we view it, I think.

Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.

Actors don't request what scenes to be written in. That's just not how it works.

I have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It's a dance between you, your characters, and your editor.

In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.

My sister and brother are both writers as well. We are constantly discussing story and plot lines. And I love to discuss story ideas with my husband.

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.

Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

The writer's room is a really interesting place to be.

Writing is a solitary existence. Making a movie is controlled chaos - thousands of moving parts and people. Every decision is a compromise. If you're writing and you don't like how your character looks or talks, you just fix it. But in a movie, if there's something you don't like, that's tough.

I find that with any good run on a show with good writers, they put something on paper, and you put something back on film, and that affects what they put on the paper the next time.

I wrote the screenplay for 'This Is Where I Leave You' - all 40 drafts of it.

I always claim that the writer has done 90 percent of the director's work.

It's a great luxury to have the writer with you on a new play because you can write and re-write, just trying to get the arc of the story, of their relationship right.

With most good scripts and good shows, they expect the actor to bring some of their ideas to the backstory of the character. It's always a good collaboration between the actor and the writer and the director to try stuff out during the process.

In the world of book writing, there's a few people, maybe, where you have close relationships. In TV, there are so many more relationships, and they're all so critical.

'Nathan for You' was my first time being in a writer's room, really.

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it. And then, there are notes and you change it, in the conventional studio system.

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

I love the idea of directing, I'm not confident enough, but I'm more confident in, well, I'd love to write. I've sort of written my whole life and I think I have a knack for it, so I'd like to write something and see what people think and that would be my first step to directing.

I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.

[Joss Whedon and David Greenwalt] pushed me out of my comfort zone [in Buffy The Vampire Slayer ].

Certainly, for me, and it's gone this way on every project I've worked on, the "writing" never ends until you're done with the movie.