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A lot of times, people say, 'My work didn't suffer with family.' I would go a step further: My career only flourished upon having children. It got better.
You have to be very specific with the suggestions of how you want to show things, not just with dialogue but also place and mood. I write all of that as very vivid guidelines so directors can come in and do what they will with them.
For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you're choosing that people don't consciously pick up on, but that they feel.
I didn't need a harassment scandal to break out in Hollywood or misogynistic people in government to know they exist. Anybody who's a woman, a minority, or a thinking, perceiving male can see that it exists.
Another writer might question whether you're feeling competitive. But if I talk to Jonah, I know that he truly values my success more than his own. And I truly value his success more than my own. There's a generosity there.
Part of what you try and do when you're writing is to just transcend politics and the moment in a way and talk about something, those fundamental building blocks of building nature.
I had a lot of college debt. It's very difficult to go to a university that is as expensive as Stanford and then blindly follow your passions when they don't immediately make money out of the gate.
Our memories, the way we tend to experience them, are sort of fuzzy around the edges, like a watercolor that has bled into the past and is not totally clear.
Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.
I've always been fascinated by memory and I remember Jonah, when we first started dating, was working on something involving memory. It was early on in our relationship and I was like, damn it, I wanted to do a movie on memory. That was 'Memento.'
When we were thinking of 'Westworld' and doing it with HBO, what they really showed us is that they have the ambition in their network, and they value production value as much as we did, and that that would be a perfect place to do a show of this scope and this ambition.
Nobody ever has a problem if a man writes a woman. I wanted to be able to say, 'Well, I can write your men and your action, too. You don't just have to give me the love scenes, which I don't even think are my strong suit.'
Westworld is an examination of human nature: the best parts of human nature... but also, violence, sexual violence have sadly been a fact of human history since the beginning of human history.
The most damaging part of pervasive bias, whether it's implicit or complicit because sometimes it can be well-intentioned, is when that bias gets internalized and women start self-centering and stop thinking that they're incapable of achieving what they want and achieve empowerment.
When I used to watch Westerns, I could admire the craft, but I never really loved them; they never spoke to me. Maybe because I'm first-generation American, I'm a woman, and I just didn't see myself reflected.
In 'Lost,' they really believed in the mystery box and not looking too much inside the mystery box. It was some kind of idea generator that you didn't need to dissect and open up. And that's absolutely fascinating and an engaging way to tell a story.
I think that sense of wonderment, where you walk out expecting the ordinary and are confronted by the extraordinary, is something that has always interested me, whether in TV or comic books.
Our civilizations have evolved. The solutions we can find for the things that keep us somewhat primitive and base and ugly in our desires can improve and become more sophisticated. Sometimes there's a disconnect between that. My car can drive, but we can't get rid of violence.