There are one hundred glow-stars on my bedroom ceiling. (...) Glow-stars are strange. They make the ceiling disappear.

It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.

Normally, small talk is enough for me to form an opinion of someone. I make quick judgments, often completely wrong, and then stick by them rigidly.

Vietnam, me love you long time. All day, all night, me love you long time.

There are one hundred glow-stars on my bedroom ceiling. (...) Glow-stars are strange. They make the ceiling disappear.

Every dream that anyone ever has is theirs alone and they never manage to share it. And they never manage to remember it either. Not truly or accurately. Not as it was. Our memories and our vocabularies aren't up to the job.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.