Melissa Rosenberg Quotes

The writers did a great job of adapting the characters from the 'Frozen' story and implementing them into the 'Once Upon a Time' world.

I think the context of an hour-long drama gives breathing space that you don't get in a film.

I think 'Game Of Thrones' is incredibly true to the books. I think the fans will, hopefully, be very pleased with how true to the books we are.

Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had about 90 pages of movie script going. I realized I had a lot to learn.

While the TV show 'Rizzoli & Isles' may have been inspired by my books, show runner Janet Tamaro has total control over where the TV characters go from there. As Janet once put it, I'm the birth mother, but she's the mother who adopted them, and now that Jane and Maura are living in her house, they have to do what she tells them to do.

People think, 'Oh, well how can 'The Hobbit,' which is one book, become three films?' But you can take one line from an appendice and it turns into a whole sequence.

The sixty-minute drama form has become very rich.

TV, particularly network television, gives you a much greater opportunity to tell a long-form story, to develop a character and keep it detailed. Film, by its nature, is more finite.

With a film, you just don't have time to build sympathy for the character. But I think we're moving away from that in TV. With TV, you have a little more leeway to allow them to rise and fall and rise again and be much more complicated beings.

It's a challenge to turn a book series into a television series; you need to keep people on their toes, but you also want to be true to the source material.

I want to tell Miranda's story more broadly than what I have been in these five-minute videos on the Internet. She can live in a longer format.

A good script can come from anywhere.

In TV, it's so much more about the writers because they're the ones creating the universe. The writers are the ones who know what's up.

I've never written anything that I haven't wanted to write again. I want to, and still am, writing 'A Few Good Men' again. I didn't know what I was doing then, and I'm still trying to get it right. I would write 'The Social Network' again if they would let me, I'd write 'Moneyball' again. I would write 'The West Wing' again.

It was really fun to start writing movies because you could actually take characters whose voice you enjoy writing in and have actual things happen to them for more than five minutes. It was really fun to thread it together.

With 'Battlestar Galactica,' we had such resistance from the fan base to changing it. The upshot was, we ultimately won them over.

You can do things with TV that you just can't do on film. There's so much more time: there's the opportunity for development, and you can let things lay dormant for a period. You can't really do that in two hours or three hours in a movie that often, I would say.

'Suits' is 'Suits.' It's grown and changed and evolved in lots of ways that I'm super proud of, but as an actor on a show like this, you try and make it something other than what it is sometimes.

It's a challenge every year with a TV series. You want to keep evolving and keep it going. That's part of the fun.

I've never been able to write a movie script. I respect that skill so much, but it's not been the way my brain works.

In film and theater, you know the story and the journey from beginning to end, but with TV, you can keep peeling away layers and exploring a new world each week.

You can sit around and complain that Hollywood doesn't make any good movies. But you can generate your own material. So I read books. I come up with ideas. I was the producer on 'The Woodsman' to help get that off the ground. Sometimes that extends itself to directing.

You don't want to write the same story again, but people are like 'We want the same story but different.' Well, how do you do that?

I like scripts. I spend a lot of time writing them.

I would say what you have to do as a screenwriter is strip the book back to find the skeleton. When you've found the skeleton - that's what you trust - you reclothe.