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
Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.
I find Jessica Jones a much more interesting character to write for than Wonder Woman. Wonder Woman is so noble and heroic, and I don't find that as interesting as one who's really damaged and flawed and has post-traumatic stress disorder.
I have been working in television for quite a long time. In television, the writer is the constant, and the director is rotated in and out. I am very use to dealing with people's methods. And perspectives.
One must never assume that a character is sympathetic because of either the actor playing them or the fact that they're a lead. I think that's a recipe for failure, actually, because if they become unsympathetic, you lose your audience.
I think stories do have an ending. I think they need to have an ending eventually because that is a story: a beginning, middle and end. If you draw out the end too long, I think storytelling can get tired.
I remember when I was a dancer and I had to do this performance and I was really nervous about it, and I happened at that moment to go see 'Flashdance.' I mean, it's silly, but I walked out of that movie going 'what a feeling!' I walked out with confidence.
The film industry sees the writer as fungible: The thinking goes, As long as we have Brad Pitt and all this money, we have a great film! No, you need a writer with voice and an engaging story, or what you have is a bomb.
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.