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.
I slowly dismantled the act of painting, to consider the possibility that no-thing ever really transcends its immediate environment.
I guess I've accepted that theatre is never going to be edgy in the way I want it to be. It's too expensive for a start. And, the audience seems to be complicit in the dullness.
Disneyland is the star, everything else is in the supporting role.
When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.
I look at a nude. There are myriads of tiny tints. I must find the ones that will make the flesh on my canvas live and quiver.
Women's art, political art - those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.
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