"I remember being out here at the Sunset Marquis, and whoever knocked on the door, I would take that picture that I was writing and I would put that in the typewriter, so when I had the meeting, they would say: 'Oh, you're working on it right now?'"
About this Quote
It is a small, almost slapstick confession of how creative labor gets performed for an audience that wants evidence more than results. John Sayles describes a ritual of concealment and display: the real work is messy, private, and hard to quantify, so he manufactures a visible sign of productivity the instant someone knocks. Sliding a page into the typewriter becomes stagecraft, a prop that satisfies an industry craving the reassuring image of the artist at work.
The intent isn’t just to be funny, though it is. Sayles is sketching the power dynamic of meetings in film culture, where writers and directors are perpetually auditioning their seriousness. The question he anticipates - “You’re working on it right now?” - isn’t curiosity; it’s a loyalty test. Being “on it” must look continuous, immediate, almost devotional. The typewriter, already a nostalgic icon of authenticity, doubles as camouflage: it signals craft, discipline, and old-school legitimacy, even if the page is just a shield.
The subtext is about surveillance and insecurity in a business that monetizes potential. Executives don’t just buy scripts; they buy confidence that the creator is controllable and producing. Sayles, a filmmaker associated with independence and doing things his own way, exposes the absurdity of having to perform diligence to keep the room calm. It’s a wry reminder that in Hollywood, the work is only half the job. The other half is looking like the kind of person who is always working.
The intent isn’t just to be funny, though it is. Sayles is sketching the power dynamic of meetings in film culture, where writers and directors are perpetually auditioning their seriousness. The question he anticipates - “You’re working on it right now?” - isn’t curiosity; it’s a loyalty test. Being “on it” must look continuous, immediate, almost devotional. The typewriter, already a nostalgic icon of authenticity, doubles as camouflage: it signals craft, discipline, and old-school legitimacy, even if the page is just a shield.
The subtext is about surveillance and insecurity in a business that monetizes potential. Executives don’t just buy scripts; they buy confidence that the creator is controllable and producing. Sayles, a filmmaker associated with independence and doing things his own way, exposes the absurdity of having to perform diligence to keep the room calm. It’s a wry reminder that in Hollywood, the work is only half the job. The other half is looking like the kind of person who is always working.
Quote Details
| Topic | Writing |
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