Melissa Rosenberg
Melissa Rosenberg
Melissa Anne Rosenberg is an American screenwriter. She has worked in both film and television and has been nominated for two Emmy Awards, and two Writers Guild of America Awards. She won a Peabody Award. Since joining the Writers Guild of America, she has been involved in its Board of Directors and was a strike captain during the 2007–2008 Writers Guild of America strike. She supports female screenwriters through the WGA Diversity Committee and co-founded the League of Hollywood Women...
NationalityAmerican
ProfessionScreenwriter
Date of Birth28 August 1962
CityMarin County, CA
CountryUnited States of America
almost constantly feature gone lull onto projects schedule tv writers
TV is the place for writers to live. This is where you have creative control and you're constantly writing. 'Twilight' had almost a TV schedule to it. I was constantly working on these projects. There was not a whole lot of lull but I've gone onto other feature projects that's like, 'Okay, I'll get back to you on notes.'
deal deliver fear great guarantee hire investing money pigeonhole somebody westerns written
Studios, because they are investing a great deal of money in movies, they want a guarantee that when they hire somebody that person can deliver for them. Everything is fear based, so they pigeonhole people. But I've written everything, from Westerns to sci-fi to dramedy, I've done it all.
course five lay novel spread thin writers
With 'Darkly Dreaming Dexter,' we as a group of writers had to take a rather thin novel and spread it out over the course of 12 episodes, and not only 12 episodes, but lay in story for everyone that's going to take you through five years.
basically chew hope human insight maybe positive sound
You don't know what someone's going to walk away from a movie with, but you hope it's something positive, but if nothing, you want them most basically to be entertained and engaged. That's your job. But you also hope to give them something to chew on or maybe some insight into the human existence, you hope a little bit. Not to sound too lofty.
becomes vacuum
In 'Twilight,' you're setting up the world. You're introducing the world, and I was also writing in a vacuum because I didn't know who the actors were going to be. Now you're going to 'New Moon' and 'Eclipse,' and I could write specifically to them in my mind. So it becomes a more comfortable world.
cooks decided instead visions
Well, I think one of the problems with 'Birds of Prey' was there were too many cooks in that kitchen. The studio, the producers, the network, all had very different visions of what that should be. They should have just let Laeta Kalogridis control that. Instead they decided to try to get their hands in the mix.
box boys drive extremely fan games home longer media office passionate pole starting stay tent theaters video work year
So what 'Twilight' does is show how women/girls can drive box office and they can support a tent pole movie. They're an extremely passionate fan base. This coincided with the 13 year old boys starting to stay home and play video games and work on their home media stuff. They're no longer going to theaters in droves.
both company creating girls leave love plan process production tall
My plan is, I'm in the process of creating a production company called Tall Girls productions. I want to be doing both film and television. I'll never leave television. I just love working in it too much.
Women tend to be categorized as Madonnas or whores.
strong jobs team
Showrunning is not a one-man job; it's literally impossible to do for one person. I have learned the hard way now from two seasons, one with Red Widow, and this, I can't control everything. I certainly have tried, but having an incredibly strong team around you, surrounding yourself with incredibly talented people, that is the trick, and I certainly had that for the first season here of Jessica Jones.
fans passionate what-you-love
Women, in general, are very passionate fans, and that's what you love about them.
boss tissues world
I've really been very focused on Jessica Jones. Our series was well on its way to being created by the time we even saw scripts from Daredevil, and Luke Cage didn't even have a showrunner hired then. Jeph Loeb [Marvel TV boss] is the master of the connective tissue, but each series exists in its own world.
thinking animal stories
Jessica Jones is its own animal, I think each one of these series is its own animal. There is some connective tissue, in terms of referencing the Marvel Universe, but it glances off of the other stories.
book character mean
When I was developing the [Daredevil] idea, we were really doing something closer to what was in the comic book. By that, I mean in terms of civilians in the street knew that superpowers were an everyday matter of fact. When it finally ended up at Netflix, they really decided to land it in the Marvel Universe that exists in the cinematic universe. That changes the story entirely. It was no longer about the other, which is what that metaphor was. It's really more about the character herself, which I love.