Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.
Aaron SorkinRead
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
Interpretation
The author expresses a preference for writing complex characters who challenge traditional heroism while finding relatable aspects within them.
In this quote, Aaron Sorkin discusses his artistic inclination towards writing antiheroes in narratives, particularly seen in works like 'Steve Jobs' and 'The Social Network.' He emphasizes the importance of connecting with these flawed characters on a personal level, portraying them as individuals who grapple with their moral complexities as they seek redemption or validation, akin to pleading their case before a higher power.
In practice
This quote can inspire writers to develop multifaceted characters in their stories.
Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.
The upside of web-based journalism is that everybody gets a chance. The downside is that everybody gets a chance.
I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.
Decisions are made by those who show up. Don't ever forget that you're a citizen of this world.
Good writers borrow from other writers. Great writers steal from them outright.
With 'The Social Network,' I got into it at first because frankly I thought there was a cool courtroom drama to be had with the intellectual properties. And then what further drew me in was that the most extraordinary social networking device ever created was created by the world's most antisocial person. I liked that story.
If you wait, people will forget your camera, and the soul will drift up into view.
We look at a painting to know the painter; it's his company we are after, not his skill.
Staring Girl I once knew a girl who would just stand there and stare. At anyone or anything, she seemed not to care She'd stare at the ground, She'd stare at the sky. She'd stare at you for hours, and you'd never know why. But after winning the local staring contest, she finally gave her eyes a well-deserved rest.
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
I like to feel like you can bite my paintings. Not to eat them, to hurt them. I like to feel like I'm painting with my teeth.
How much has to be explored and discarded before reaching the naked flesh of feeling.
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