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Because alcoholics are alcoholics. They had a broken heart or something. I knew nothing about fashion. Nora Ephron: Alice was a friend of mine.
It was an unbelievably bland time in America. A., and he became a writer. You were just supposed to curl up into a ball and move to Connecticut. Nora Ephron: The good thing about directing your own writing is you have no one to blame but yourself, and I'm a big one for that. Nora Ephron: I think there are a lot of reasons. People see things that don't work, and they think, "Didn't they know that wasn't going to work? " So it wasn't like, "I'm busy. You got mail ephron crossword. With your track record, maybe it will. What are you writing now? I went to college in 1958. And I just fell in love with journalism at that moment. But it interested me later, when they complained about it, that I hadn't quite been sensitive to it, because it was time for me to do this. What was your impression of the writing life of your parents, who were screenwriters? When I went off to do that first movie, I think they were really surprised that their mother actually worked.
Nora Ephron: He was very irritated by the book and the movie, by both things, and I think secretly thrilled, because he could now be the victim. Something like that. Most of their friends were other screenwriters. Speaking there will be Margaret Mead, the anthropologist, and two other people. You got mail co screenwriter. " But the truth is, it was harder for them than I thought it was going to be. So it was a perfect marriage of those two things. It basically is the greatest lesson I think you can ever give anyone. I couldn't believe it. Nora Ephron: I was very lucky because I was a writer, but if you're a lawyer or a doctor or you work in a factory, you have hours, you don't have freedom.
Look what the bad boy did to me. " Nora Ephron: I was born in New York, and I was really happy for the first four years of my life, and then my parents moved to California, and as far as I was concerned, my life was over, ruined. She's great at everything she does. I always tell this story. One of the things that Mike teaches you is he's constantly asking, "What's this story about? You can make your own hours. You ve got mail co screenwriter ephron. Nora Ephron: Well, they went off every morning in their respective cars to the same office, which was about four blocks away from our house. I got paid for them, but I thought, "Am I ever going to get a movie made? " Nora Ephron: Looking back on it, I thought, "Well, they're old enough to handle this, " and by the way, they did handle it. Nora Ephron: Yes, it's improved. I did do all that stuff at the school. Tom and Meg had already done a movie together, and it had been a big flop, Joe Versus the Volcano. And then the right actor would come in and nail it, and you'd go, "Oh my God, I am a genius!
It was time for me to do this, and I thought, "We have a good support system in place. Then he did what most journalism teachers do, which is that he dictated a set of facts to us, and then we were all meant to write the lead that was supposed to have "who, what, where, why, when, and how" in it. When we were doing Silkwood, there's a scene that is a union meeting at this plutonium factory that Karen Silkwood worked at. I cared less, but I thought, "Well, I'll do this.
For a long time I thought it was kind of great that they did this. Did you already have your next youngest sister when you moved to L. A.? As it turned out, Alice and I went to Oklahoma together, but what was great was that we worked together and had a huge amount of fun doing it. So basically, I thought, "Well this is great. " Was there any dynamic there that was particularly telling, being the oldest of four? They really taught us, I think, how to be writers, because we learned at the dinner table to take whatever mundane thing had happened to us and tried to make it a little bit entertaining.