There's one massive problem with coming from writing novels into screenplays that I've discovered over the years, which is that you've got too much facility on the page. In novels, you can persuade people of things that work that don't really work.

I do all this alone, everything I achieve, I achieve alone, because it's my head I'm locked into, and I share this space with nobody but myself.

Dream life, I realized, was only confusing when you were awake. It was from the perspective of waking life that dream life seemed fractured and lacking consequence, lacking any certainty that one thing led to another. But from within dream life, the world was generally coherent. Not exactly an unconfusing world-just no more confusing than any other.

I carry a lot of scars. I like the way that sounds. I carry a LOT of scars.

Vietnam, me love you long time. All day, all night, me love you long time. (...) Dropping acid on the Mekong Delta, smoking grass through a rifle barrel, flying on a helicopter with opera blasting out of loudspeakers, tracer-fire and paddy-field scenery, the smell of napalm in the morning. Long time.

I've never been to Comic-Con, but I'm certainly aware from this side of the Atlantic that it's a very important part of film marketing now, even when the films are not directly linked to a comic.

Tourists went on holidays while travellers did something else. They travelled.