You Ve Got Mail Co Screenwriter Ephron
I did do all that stuff at the school. You've got mail co screenwriter ephron. What keeps you going after a flop? We were shooting this scene in Texas, where we were shooting it, and I arrived at the set, and Mike Nichols — who is a brilliant man, but doesn't know everything — had put all the people in the scene — the union people and the management people — at a round table, because he wanted to shoot at a round table, and I said, "No, no, no, no, no. She was a rapper in some way that was so brilliant.
You Got Mail Ephron Crossword
He could now walk around saying, "Look what she did to me! Nora Ephron: No, no. Nora Ephron: Crazy drunk. We were not The New York Times, and we knew that, and it was a great way to become a writer because you could really find your voice. You got mail co screenwriter. Writers are interesting people. What was the reaction of your ex-husband to the book and movie? So I was very lucky in that way. It's not only empowering, but it also sends the message that you won't be defeated by this temporary setback or this temporary tragedy. I went to college in 1958. What did the bad girls do to you? "
I'm sorry, but I didn't. She was at Columbia Film School, and she was a good writer. With your track record, maybe it will. I got paid for them, but I thought, "Am I ever going to get a movie made? " This is so embarrassing, I'm going to crawl under the couch! " So all of that is evening out. But you have a very clear idea when you write something of what you want it to look like. It's a union negotiation. I had been reading all these books about getting older. You got mail ephron crossword. Can you tell us about your desire to be a writer in New York? I just don't think that she wanted to go to school and be perceived as that kind of mother, but I can't ask her about it now. Had I said I want to be a lawyer, that probably would have been okay, too.
You've Got Mail Co Screenwriter Ephron
Lately, your book about your neck has gotten tremendous attention and has sold a lot of copies. I had a couple of great, great teachers. Meryl wanted to do a comedy. Could you tell us about Heartburn, where you did, in fact, rather publicly turn the downfall of a marriage into a somewhat comic novel and movie? I have such a strong sense of that, that I did not ever want people to think, "Oh, poor Nora! " It was a very, very, very — you were supposed to go to college, you were supposed to get your B. Nora Ephron: Well, I'm a writer, and I'm very lucky because I don't always have to write the same kind of thing. When I went off to do that first movie, I think they were really surprised that their mother actually worked. This might be a story someday. Were there teachers who were pretty important to you? It didn't really cross my mind that someday I would actually think of myself as a writer, but I wanted to be a journalist, and there was a lot of journalism in New York. Also, when you write something, you really do hear how you want it said.
We, Yahoo, are part of the Yahoo family of brands. You get through that, and then you write it. She wrote this book! " It was different when I became a screenwriter. Nora Ephron: Thank you. Nora Ephron: Delia is three years younger than me, and Hallie is five years younger than Delia, and Amy is three years younger than Hallie. It's truly a way of getting out of whatever narrow world we all grow up in. Why are people saying this? Nora Ephron: I was a mail girl at Newsweek.
You Got Mail Co Screenwriter
How long were you there? It was a very small staff. It does reinforce that thing that writers have, which is that "third eye. " You know, Superman is the key to everything. You don't consciously do these things, and yet, I look back on my life, and I realize that about every ten years or so, I sort of moved laterally, or every eight years. Rosie O'Donnell, who has been a friend of mine ever since, was just starting out. Nobody got on a plane and visited colleges in that period. And the publisher of the Post, Dorothy Schiff, said, "Don't be ridiculous. What's this scene about? Betty Friedan was about to publish The Feminine Mystique, and the women's movement was about to begin, as well as quite a few other social movements in the '60s. Nora Ephron: I think the decision to go to Wellesley was just a very simple one.
Nora Ephron: It was called "something to fall back on. " I think they wanted us to be writers so that we wouldn't make a mistake and be things that we weren't. But they won't really. Going back to yourself as a child, did you like to read? You really don't know.
The New York Post, with its tiny staff, had way more women writing there than The New York Times with its huge staff. How did Mike Nichols sharpen what you had done together? David Hyde Pierce, we had such an extraordinary cast, looking back on it. So I was an avid reader, just constantly reading, reading, reading, reading. But you know, I didn't have a sense of them as much as writers as I did as screenwriters. Nora Ephron: Well thank you, darling. I had already decided that I was going to be a journalist. But The New York Times Magazine, the first assignment I got from them in 1968 or '9 was a fashion assignment, and I had never written about fashion in my life. And then the right actor would come in and nail it, and you'd go, "Oh my God, I am a genius! Everything was about to really break free, but we didn't know that in 1958.