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You get attached to the way you write, and I'm attached to notebooks. That's where I really write the plays. Just two or three pages at a time, then I transfer to the typewriter and rewrite while I type.
Neil Simon
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Neil Simon
Age: 91 †
Born: 1927
Born: July 4
Died: 2018
Died: August 26
Entrepreneur
Film Producer
Librettist
Lyricist
Playwright
Screenwriter
New York City
New York
Marvin Neil Simon
Two
Transfers
Play
Notebook
Writing
Attached
Really
Plays
Notebooks
Way
Pages
Typewriter
Time
Type
Rewrite
Write
Typewriters
Three
Transfer
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Evan Handler's new book is simply wonderful. He pulls you inside his life, and you come out his very close friend.
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A lot of your personality is formed before you're 12, obviously, but only a few of my plays use characters from my childhood. The more mature plays are affected only by my adult experiences.
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He's too nervous to kill himself. He wears his seat belt in a drive-in movie.
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It's always painful when you're writing memoirs because you've got to go through the dark places, but it gives you a chance to find out the person you really are, not the person you thought you were.
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Standing on a ledge again. Everyone laughs at dancing monkey with the typewriter. Not for long, though.
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Rewriting is when writing really gets to be fun. . . . In baseball you only get three swings and you're out. In rewriting, you get almost as many swings as you want and you know, sooner or later, you'll hit the ball.
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Sudden money is going from zero to two hundred dollars a week. The rest doesn't count.
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Once you've opened yourself up, it's best to go all the way.
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Writers feel like a middleman, standing with pen in hand over the page. A force greater than me stands above telling me what to write. That may sound romantic, but that's how it feels.
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I much prefer writing an original movie with the screen in mind to transferring a play to the screen.
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If no one ever took risks, Michaelangelo would have painted the Sistine floor.
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I don't want to restrict the life of a play to a particular production. The original actors might leave after the first six months, and I want the play to last 30 or 40 years. You write for the character, not the actor on the stage.
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