Abi Morgan Quotes Quotes

I definitely people-watch. I often see photos of myself with my children: I'm always in the background with my mouth wide open, looking somewhere else.
I didn't take into account the critical tsunami that comes with having work going out. I've gone from being a complete narcissist, someone who googles my own name, to someone who has to work separately from that to avoid creative paralysis.
I don't look back. I don't look forward. I am totally now.
I don't really read that many magazines; I'm more of a browser. I get 'Vanity Fair' quite often if I'm on a train.
I get the 'Guardian' delivered every day and read it very quickly. I like it for both the TV and theatre reviews and because it's very accessible. At the weekend, I get the 'Observer' because I love the food supplement, Observer Food Monthly, and the style section. And I can't resist the News of the World.
I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.
I had a huge interior world as a kid: I'd sit on endless wet holidays in Cornwall playing with paper dolls.
I hope my pieces have an authenticity to them, but my job is to filter the world and tell a story, not to define and recreate exactly what's going on.
I know what it's like to be brought up by actors and writers.
I like bowling with my kids at Shoreditch House.
I literally grew up in drama. I used to watch drama - the catharsis of the play - then see drama at home.
I love the intimacy of TV. I love the fact that you don't necessarily have the pressure of an audience or anyone around watching it - just you and it.
I love the South Bank: every era of architecture is there, and you can stop, look, and listen.
I need to be in charge, and that comes from when I was growing up and money was always an issue. I didn't want to feel the fear of poverty again, and I suppose, in that way, I qualify as Thatcher Youth.
I never get writer's block, but I do have days where I crawl under the duvet.
I never know if I'm the builder or architect. The role shifts all the time. But what I have come to conclude is that the script is the muse.
I spent most of the Seventies living in Newcastle-upon-Tyne and most of the Eighties living in Stoke-on-Trent.
I still always think the greatest moment for me, as a writer, is when I press that button and send the first draft of the script.
I talk to myself all the time - it's something my children have observed in the car.
I think casting is everything. You get a great cast and - certainly, as happens in 'The Hour' - so many of those performances on the page were transformed by those actors who took those parts and made it into something completely different.
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Abi Morgan
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