“The answer Hollywood figured out for this question was what doomed it. It figured out that writers were not to be in charge of creating stories. Instead, a curious tribe of inarticulate Pooh-Bahs called Supervisors and, later, Producers were summoned out of literary nowhere and given a thousand scepters. It was like switching the roles of teacher and pupil in the fifth grade. The result is now history. An industry based on writing had to collapse when the writer was given an errand-boy status.”

— Ben Hecht

from "Elegy for Wonderland", by Ben Hecht, Esquire Magazine, March 1959

Adopted from Wikiquote. Last update Sept. 14, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "The answer Hollywood figured out for this question was what doomed it. It figured out that writers were not to be in ch…" by Ben Hecht?

Ben Hecht 32

American screenwriter 1894–1964

Related quotes

“A smart machine will first consider which is more worth its while: to perform the given task or, instead, to figure some way out of it.”

Stanisław Lem book The Futurological Congress

The Futurological Congress (1971)
Context: A smart machine will first consider which is more worth its while: to perform the given task or, instead, to figure some way out of it. Whichever is easier. And why indeed should it behave otherwise, being truly intelligent? For true intelligence demands choice, internal freedom. And therefore we have the malingerants, fudgerators, and drudge-dodgers, not to mention the special phenomenon of simulimbecility or mimicretinism. A mimicretin is a computer that plays stupid in order, once and for all, to be left in peace. And I found out what dissimulators are: they simply pretend that they're not pretending to be defective. Or perhaps it's the other way around. The whole thing is very complicated. A probot is a robot on probation, while a servo is one still serving time. A robotch may or may not be a sabot. One vial, and my head is splitting with information and nomenclature. A confuter, for instance, is not a confounding machine — that's a confutator — but a machine which quotes Confucius. A grammus is an antiquated frammus, a gidget — a cross between a gadget and a widget, usually flighty. A bananalog is an analog banana plug. Contraputers are loners, individualists, unable to work with others; the friction these types used to produce on the grid team led to high revoltage, electrical discharges, even fires. Some get completely out of hand — the dynamoks, the locomoters, the cyberserkers.

“When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history.”

William Styron book Darkness Visible

Source: Darkness Visible (1990), II
Context: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.

“How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him.”

Ernest Hemingway (1899–1961) American author and journalist

Nobel Prize Speech (1954)

“There were no storks in Shora. Lina had written this story about storks of her own accord-the teacher hadn't asked her to write it. In fact, until Lina read it out loud to the five boys and the teacher, nobody in school had even thought about storks.”

Meindert DeJong book The Wheel on the School

The Wheel on the School (1954)

“Getting what you want is just as difficult as not getting what you want. Because then you have to figure out what to do with it instead of figuring out what to do without it.”

David Levithan The Realm of Possibility

Source: The Realm of Possibility

“It was not that the figure had been removed, not that the figures had been swept away, but the symbols for the figures, and in turn the shapes in the later canvases were substitutes for the figures.... these new shapes say.... what the symbols said.”

Mark Rothko (1903–1970) American painter

Rothko, explaining Seitz his new way of painting during the mid-1940s
Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 142
after 1970, posthumous