In a general sense, to convert any short story, novel, play, or opera into a movie, you have to re-rig it. Even though they're all narratives over time, they're very different forms.

The biggest fear I have is to die with regrets, and of course that will come true.

A pitfall of making a comedy with a studio-and it's also an American cultural thing-is that I get tired of being encouraged to go always for laughs.

Acting is a lot easier than people think it is.

What is filmmaking but groping in the dark?

The better a novel is, in literary terms, the more you can't be faithful. The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies.

I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original... You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.