Tanya Saracho Quotes

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

I am very happy to be working with so many talented directors and writers, who are penning scripts that are interesting for me.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.

To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.

The director in TV and the writer and the creator are working very much hand in hand.

From a writing point of view, you now have teams of screenwriters working with a director. What's lost in the process is the power of that one heart, brain, gut and soul that makes something an original piece of writing.

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 have a producing partner named Stephen Hamel, and we've been trying to generate material.

I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.

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

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.

There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.

Everything I write in my show is a collaboration with a team.

It's good to work with a writer-director.

My first job in Hollywood was as a PA in the writers room of 'Dawson's Creek,' and from that early experience on, I've always had an intense appreciation for the energy, creativity and process of making television.

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.

Writing 'Magneto' as part of a team took a little getting used to.

My role on 'Silicon Valley' was so small that I didn't have a lot of influence anyway in the show. There are four guys who really write that show and run that show and then six or eight hanging out in a room kicking in a few bits.

Stories often take their own course once you start to write them, especially when you have the benefit of a writers' room and a team of people augmenting and adding to the material.

All good communal storytelling comes from the sagas and arguments within the writers room.

I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.

There are writers' rooms that will write episodes all together, who will break into little groups and write certain scenes. Everyone's process can be a little bit malleable. Everyone tries to get into a groove or find what works for their room.