99+ Rod Serling Quotes on Actors, Commercialism and Ideas - Quotes.pub

Here you will find all the famous Rod Serling quotes. There are more than 99+ quotes in our Rod Serling quotes collection. We have collected all of them and made stunning Rod Serling wallpapers & posters out of those quotes. You can use this wallpapers & posters on mobile, desktop, print and frame them or share them on the various social media platforms. You can download the quotes images in various different sizes for free. In the below list you can find quotes in various categories like Actors, Commercialism and Ideas

I don’t think playing it safe constitutes a retreat, necessarily. In other words, I don’t think if, by playing safe he means we are not going to delve into controversy, then if that’s what he means he’s quite right. I’m not going to delve into controversy. Somebody asked me the other day if this means that I’m going to be a meek conformist, and my answer is no. I’m just acting the role of a tired non-conformist.

I don’t think it’s man’s function to write. I don’t think it’s a normal thing like teeth-brushing and going to the bathroom. It’s a supered position on the animal.

I’m an affluent screenwriter and all that – I’m a known screenwriter, but I’m not in the fraternity of the very, very major people. I would say a guy like Ernie Lehman, William Goldman, and a few others are quite a cut above.

The major difference frequently is in time. The motion picture, for example, gives you considerably more freedom of expression than does the confined thirty-minute television show. But in essence, they’re not that dissimilar.

If you write beautifully, you write beautifully, that’s all.

Most shows, buying shows, have a standard fee for the first shot of the writer and if you have a very militant agent, I suppose he might jack it up four percent or something. But in essence, you sell for what is the going rate.

I think I’d rather win, for example, a Writer’s Guild award than almost anything on earth. And the few nominations I’ve had with the guild, and the few awards I’ve had, represented to me a far more legitimate concrete achievement than anything.

I ask for your indulgence when I march out quotations. This is the double syndrome of men who write for a living and men who are over forty. The young smoke pot – we inhale from our Bartlett’s.

If you write, fix pipes, grade papers, lay bricks or drive a taxi – do it with a sense of pride. And do it the best you know how. Be cognizant and sympathetic to the guy alongside, because he wants a place in the sun, too. And always... always look past his color, his creed, his religion and the shape of his ears. Look for the whole person. Judge him as the whole person.

And something inside the young man cracked. The small compartment in the back of his mind, where man closets his fears, ties them up, controls and commands them, broke open and they surged across brain and nerves and muscles – a nightmare flood in open rebellion.

I think the essence of the argument has always been, first of all, the Guild doesn’t want writing on spec. And that’s been a major problem over the years. But obviously, to the young writer that’s unfair and it’s discriminatory, and it can be very hurtful to one’s career.

The good agent probably is not the reader, he’s just the guy who can put together a deal.

There is a fifth dimension beyond that which is known to man... a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge. This is the dimension of imagination.

I don’t have close relationships with agents. They’re friends, but they’re not confidants.

Seeing does not always believe.

I’m frequently surprised, sometimes bugged off, and sometimes happy, depending on the actor. It’s a fact of life that just as often as not an actor can breathe life into a line as he can destroy it by misinterpretation, and I’ve been blessed frequently by having good actors.

I couldn’t direct because I’m too impatient and I couldn’t put together a package because I don’t understand money. I’d rather just do what I’m doing.

In terms of screenwriting adaptations it’s trying to cut out stuff that’s extraneous, without doing damage to the original piece, because you owe a debt of some respect to the original author. That’s why it was bought.

If the producer doesn’t like you, consequently he reads the script with a very negative view. But I wouldn’t preoccupy myself with that, I don’t give a damn. You can be a hunchback and a dwarf and whatall.

I’ve written all that I’ve wanted to write to date.

I remember the first sale I made was a hundred and fifty dollars for a radio script, and, as poor as I was, I didn’t cash the check for three months. I kept showing it to people.

All the Dachaus must remain standing.

Just drawing back and drawing in; becoming narcissistic.

I miss the comraderie of live television – the fact that you were on the set, you worked closely with the director and the cast, that I miss. But, no, I’m happy, I’m happy doing film.

I don’t have any system. I dictate a lot, through a machine, and I also have a secretary. But I used to type just like everybody else.

Ideas are born from what is smelled, heard, seen, experienced, felt, emotionalized.

I would guess that the price of the script really is secondary. The credit is much more the essence.

I don’t know what my friends do. Generally they become producers. That way they can stop writing!

Over the long haul I’d say that most directors I’ve worked with have been pretty sensitive to the quality of the interpreted scenes.

I only wanted to tell you that this was the wonderful time for you. Don’t let any of it go by without enjoying it. There won’t be any more merry-go-rounds. No more cotton candy. No more band concerts. I only wanted to tell you, Martin, that this is the wonderful time. Now! Here! That’s all. That’s all I wanted to tell you.

I choose to think of tv audience as nameless, formless, faceless people who are all like me. And anything that I write, if I like it, they’ll like it.

Personally, my daughter’s wedding gave me a tremendous pleasure.

Not since the British raided Cologne had so many bombs landed in such a small space in such a short time.

Writers, like most human beings, are adaptable creatures. They can learn to accept subordination without growing fond of it. No writer can forever stand in the wings and watch other people take the curtain calls while his own contributions get lost in the shuffle.

The tendency when you dictate is to overwrite, because you’re not counting pages, you don’t really know what the hell the page count is.

The writer’s no different. When he’s rejected, that paper is rejected, in a sense, a sizeable fragment of the writer is rejected as well. It’s a piece of himself that’s being turned down.

As long as they talk about you, you’re not really dead, as long as they speak your name, you continue. A legend doesn’t die, just because the man dies.

It’s part of the business of really not caring about topping myself because I really don’t care what’s going to happen. I think just surviving is a major thing. I’d like to write something that my peers, my colleagues, my fellow writers would find a source of respect.

Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that’s unique.

I’m sufficiently independent to know that I can live well and comfortably all the rest of my life whether I’m rejected or not.

Infinitely more taboos, on television.

Do I want to start my own production company? No, I doubt it. I’m too old for that. I don’t want to start anything.

Personally, my daughter’s wedding gave me a tremendous pleasure. And the wedding was a radiant event and I enjoyed it. I was afraid I’d cry. I’m given to crying at odd times, and I was very much afraid of the emotionalism of that moment, but I didn’t even come close to crying.

There are millions of ways to not be writing. You say you’re not in the mood, you’ll pick it up tomorrow.

If it sounds good as you say it, likely as not it’ll sound good when an actor’s saying it.

There are a lot I’m proud of, and a lot I wish the hell I’d never written.

I’ve never really topped myself, because awards in themselves really don’t reflect major accomplishment. It’s kind of a strange, backslapping ritual that we go through in this town where you get awards for almost everything. For surviving the day you’re going to get awards.

As he looked at his reflection in the dresser mirror, he felt that recurring surprise that the tall, attractive man staring back was he, and beyond that was the wonder that the image bore no real relationship to the man himself.

And what I further don’t understand is how little you appreciate the nature of your departure. Think of all the poor souls who go in violent accidents. These are the nonprecognition victim. We are not permitted to forewarn them. You, Mr. Bookman, fall into the category of natural causes.

You can be a hunchback and a dwarf and what-all. If you write beautifully, you can write beautifully.

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