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I'm terribly afraid of failure. When your identity is wrapped up in writing and you've written something that doesn't work, it's a tough pill to swallow.

Aaron Sorkin

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Aaron Sorkin
Age: 63
Born: 1961
Born: June 9
Actor
Film Actor
Film Director
Film Producer
Playwright
Scenographer
Screenwriter
Showrunner
Television Producer
Writer
New York City
New York
Aaron Benjamin Sorkin
Failure
Afraid
Written
Pill
Doesn
Swallow
Writing
Wrapped
Work
Terribly
Something
Identity
Tough

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She's a person the doctor pronounces her dead, not the news.
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And a wheat thin the size of Lake Tahoe.
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Josh: So, Toby, it’s election night. What do you say about a country that goes out of its way to protect even those citizens that try to destroy it? Toby: God bless America.
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President Bartlet: There's a delegation of cardiologists having their pictures taken in the Blue Room. You wouldn't think you could find a group of people more arrogant than the fifteen of us, but there they are, right upstairs in the Blue Room.
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My resting pulse as a writer is writing idealistically and romantically aspirationally. My taste lies in quixotic heroes.
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If you close your eyes you can imagine the hackers sitting in a room, combing through the documents to find the ones that will draw the most blood. And in a room next door are American journalists doing the same thing. As demented and criminal as it is, at least the hackers are doing it for a cause. The press is doing it for a nickel.
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I don't think I write differently when I'm writing a screenplay, as opposed to a stage play or a teleplay. Maybe if I were in a film class and there was time to think about it, we could point out differences.
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Decisions are made by those who show up. Don't ever forget that you're a citizen of this world.
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When you're writing a movie or a play and writing isn't going well, which is for me the normal condition - it's an exceptional day when suddenly I've got something and it's going well - you can call the studio or the producer or whoever is waiting for it and say, I know I said I was going to have it in by the end of the summer.
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As a dramatist, you're looking for points of friction.
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You can only write, 'Somebody wants something, something else is in their way of getting it.'
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It's a combination of life being unpredictable, and you being super dumb.
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Good writers borrow from other writers. Great writers steal from them outright.
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There's a great tradition in storytelling that's thousands of years old, telling stories about kings and their palaces, and that's really what I wanted to do.
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The stuff that I write doesn't work very well as background music. You have to watch it from beginning to end and pay attention as if you were watching a play.
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It's certainly easy for me to make a fictional character mad about something. I can get them angry about something that I'm relatively indifferent about, just because I'm not educated on it, if I go to someone who is educated about it and is passionate about it. I find a point of fiction and then give it to them.
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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.
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There are no Asian movie stars
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I think that if I couldn't write, I would be unemployable.
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I think it's up to writers to write stuff that is compelling enough that people want to watch.
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