Terence
Terence
Publius Terentius Afer, better known in English as Terence, was a playwright of the Roman Republic, of North African descent. His comedies were performed for the first time around 170–160 BC. Terentius Lucanus, a Roman senator, brought Terence to Rome as a slave, educated him and later on, impressed by his abilities, freed him. Terence apparently died young, probably in Greece or on his way back to Rome. All of the six plays Terence wrote have survived...
NationalityRoman
ProfessionWriter
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I love to go to the gym for a couple of hours daily. Besides, I love my dancing routines; dance helps me unwind, de-stress, and introspect.
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Human beings are co-partners with deity in the project of being. This is the basis of all magic.
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The pro-psychedelic plant position is clearly an antidrugs position. Drug dependencies are the result of habitual, unexamined, and obsessive behavior; these are precisely the tendencies in our psychological makup that the psychedelics mitigate. The plant hallucinogens dissolve habits and hold motivations up to inspection by a wider, less egocentric, and more grounded point of view within the individual.
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In the case of Elektra I really wasn't sure I could pull it off. There were so many intellectual leaps. My character, Stick, is blind, but he can see better than most people. So I had trouble kind of finding the logic.
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It used to be that you had to do a certain number of episodes to hit syndication in order to try to keep a show on, because it's important to the network because it sells good commercial time. That's really not how HBO does things.
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As a writer, I've tried to avoid strong opinions about morality. You just want to present things as they are and let the viewer come to their own conclusion.
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Any abhorrent behavior is more interesting to me. I'm always amazed when somebody asks me, 'Why don't you write something about nice people?' Because nice people are boring, that's why.
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People talk about the plots and what happened, and they see your tricks a mile away.
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Critics who do the weekly recap, I find that kind of absurd. That's like reviewing chapters in a novel.
I tend not to read reviews; there's too much out there in cyberspace.
First and foremost, you want to be truthful as a storyteller.
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Very often at the end of 'The Sopranos' you get the feeling that its not under control, you should be very worried, and life is kind of really, really messed up at lot of times. It leaves you feeling very disconcerted. That was kind of the point of it.
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For me, I need to fully immerse myself in a script to the point where I'm literally locking myself away for weeks at a time and I just write it. So I can write twelve to fifteen hours in a day, with breaks in between, obviously, but I need to just sort of live within the world of the script.
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During seventy years of TV, the audience came to feel that the rules are, you can't kill the second lead on your TV show! Whatever's going to happen, it's all okay because there's no way they can kill the star.