I grew up watching a lot of Italian and French movies, so I want to have that '70s look, in my dream movie. I want that thing that's not so much happening now, that's existentialist.

Even if the dramatic scenes are really hard, if you're happy with what you have and it's been creative and you had a good time with the people you worked with, that's a good day.

I grew up watching a lot of Italian and French movies, so I want to have that '70s look, in my dream movie. I want that thing that's not so much happening now, that's existentialist.

If you don't have a brilliant screenplay, then you either have amazing actors who give you the chance to improve whatever is on the page, or an interesting director who has enough faith in the project that they can carry it through and get it somewhere. One of those factors needs to happen. If not, it's sad.

There are so many directors that I want to work with, but I can't tell you that there's one role. If I knew it, I would write it for myself.

I do tend to like movies that challenge me, professionally. That's mostly on a smaller scale, when you have one or two or five actors, and it's all about the acting and not the camera.

TV is the place that writers want to be.