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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. What did the bad girls do to you? Ephron of you got mail. " That is one of the most important lessons of "everything is copy, " is you must not be the victim of what happens to you. I had really nothing to do, but to sort of hang around and eavesdrop and look through files hoping to find secret documents, which I did find several of, by the way.
They have a stepfather. I knew nothing about fashion. Most people, you don't expect, when you have a piece in Vogue, to have a huge — you know, people don't buy Vogue necessarily for the articles, but this was an issue all my friends read, and a lot of people said, "Oh, that was really funny, " and I thought, "Oh, I see. She literally drove to the studio and drove back every day. So all of that is evening out. Did that have to do with their careers waning as well? I wanted to be a journalist. He and I are one generation different, not in our ages, but in our parents' experience. My advice to everyone is: "Become a journalist. Ephron of you got mail crossword clue. " I'll write this, and then they'll see I can write for them, and then I won't have to write about fashion anymore, " and I never did. I wrote quite a few before one got made. Nora Ephron: In terms of everything. This is why you see a lot of women in television and not in movies. I just don't get that rush to embrace the victim role instead of just saying something clever or witty, or even lame.
Nora Ephron: Well, nothing that would seem that exciting, but you had to be there. This might be interesting. " You know, a huge number of things, like these women who get goosed in the office and then file a lawsuit instead of just telling whoever did it to jump off a cliff. Nora Ephron: No, no. I know I absolutely believed that, and I don't think that's unusual with kids, not necessarily with the same — obviously — the same story I had, but I think a lot of people have a very strong sense early on that they are in the wrong place and that they belong somewhere else, and I knew I belonged in New York. You got mail screenwriter. This stuff was all out there, and I kept thinking, "Why are people writing this? You don't consciously do these things, and yet, I look back on my life, and I realize that about every ten years or so, I sort of moved laterally, or every eight years.
You're not agonizing like a lot of women do about these questions. Just forcing you to understand that if you have a bunch of scenes and they are all about exactly the same thing, at least two of them are superfluous. Nora Ephron: Looking back on it, I thought, "Well, they're old enough to handle this, " and by the way, they did handle it. Also, when you write something, you really do hear how you want it said. One of the things that Mike teaches you is he's constantly asking, "What's this story about? I went to college in 1958. Unbelievable crab and cherries and peaches. First of all, m y mother had laid down an edict in the house, which was that we were not allowed to go to any school that had sororities. All that fabulous, sunny, perfect life dissolved in alcohol. She was a rapper in some way that was so brilliant. There's still a lot of that stuff, and yet, compared to anyplace else, this is by far the best place you could be. One is the movie business, which is very much driven by the young male audience that goes to the movies.
Don't they look in the mirror? She was at Columbia Film School, and she was a good writer. I mean, to be able to dip into other people's lives at the unbelievably ludicrous points you get to when you're a journalist, either when they've just been killed, or they're just about to win the Oscar, or they've just written a really wonderful book, or they just demonstrated against something worth demonstrating against. I had an absolutely clear sense of it, even at the age of four or five, and one of my earliest memories is that I was now in California.
What are you writing now? Nora Ephron: It was called "something to fall back on. " What about teachers? People think that when you write something it's cathartic, and I had written a lot of personal articles at Esquire, and people always say, "Oh God, it must have been so great when you finally wrote about having small breasts. "
Why are people saying this? I could easily have been a lawyer, but they would have known it wouldn't have been as much fun to be a lawyer. That's a perfectly good edict, by the way, but I don't know if she laid it down because she hated sororities, which I'm sure she did, or whether it was a very simple way of directing us to a very small number of colleges, all of which were very good, the seven women's colleges in the East at that time and Stanford. At the time, I thought, "Oh my God, look what I have just stumbled onto! " She'd just been in A League of Their Own, and is one of the funniest people that ever lived. Hire them, " and so I got a job as a reporter there. That was my entire relationship with John F. Kennedy, which someday I am sure the Kennedy Library will ask me about, and I'll tell them, because I don't know how anyone could write a book about that Presidency without knowing that. She's great at everything she does. There is no place like this, no place that offers what this country does. You know, "We don't have women writers, but if you want to be a mail girl, or a clipper…" I was promoted to clipper after I was a mail girl, and then I was promoted to researcher. 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.
It's truly a way of getting out of whatever narrow world we all grow up in. Nora Ephron: Well, anyone smart who directs has an affection for actors, because they're amazing. So I was very lucky in that way. I'm sorry, but I didn't. It was the end of the '50s, the happy homemaker.
So I chose Wellesley. She is very brilliant at screenplays and at structure, so that's how the idea came up. But they're interesting. Was it in the area of dialogue? I always tell this story. Nora Ephron: Well, you're always a single mother if you're divorced from the father of your children, even if you've married a great guy, which I did. Do you have a concept of that? It didn't really cross my mind that someday I would actually think of myself as a writer, but I wanted to be a journalist, and there was a lot of journalism in New York. They have a great nanny, and they'll come visit me every other weekend. How can I ever get out of this place and get back to where I truly belong? "
That was the first true knowledge they had of what that meant. Wait until you hear this, if you want to hear what…" where you really don't want people to feel sorry for you. Nora Ephron: Yes, it's improved. Can you tell us about your desire to be a writer in New York? Nobody got on a plane and visited colleges in that period. Look what the bad boy did to me. "
I think it was one of your sisters who described the family dinner table as like the Algonquin Round Table. How did you decide to go to Wellesley? What's this section of the movie about? " I can't imagine, if I ever said, "I've decided to be a journalist, " they wouldn't have said great. You name it, I had read it. Had I said I want to be a lawyer, that probably would have been okay, too. Nora Ephron: I had this fantastic internship, I thought. So it wasn't that I said, "Oh, it's time for me to do something different. What was the reaction of your ex-husband to the book and movie? For a long time I thought it was kind of great that they did this. Were there books that you really remember loving as a kid? It won't defeat you because you're going to own it. If you would like to customise your choices, click 'Manage privacy settings'.