Out of the thousand writers huffing and puffing through movieland there are scarcely fifty men and women of wit or talent. The rest of the fraternity is deadwood. Yet, in a curious way, there is not much difference between the product of a good writer and a bad one. They both have to toe the same mark.

Out of the seventy movies I've written some ten of them were not entirely waste product.

Out of the thousand writers huffing and puffing through movieland there are scarcely fifty men and women of wit or talent. The rest of the fraternity is deadwood. Yet, in a curious way, there is not much difference between the product of a good writer and a bad one. They both have to toe the same mark.

The honors Hollywood has for the writer are as dubious as tissue-paper cuff links.

Three years ago, the white hope of the theatre. Today, a mug. That's New York for you. Puts you on a Christmas tree, and then - the alley.

Television excites me because it seems to be the last stamping ground of poetry, the last place where I hear women's hair rhapsodically described, women's faces acclaimed in odelike language.

I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.