Writing a good movie brings a writer about as much fame as steering a bicycle. It gets him, however, more jobs. If his movie is bad it will attract only critical tut-tut for him. The producer, director and stars are the geniuses who get the hosannas when it's a hit. Theirs are also the heads that are mounted on spears when it's a flop.

He was in love with life as an ant on a summer blade of grass.

The writer is a definite human phenomenon. He is almost a type - as pugilists are a type. He may be a bad writer - an insipid one or a clumsy one - but there is a bug in him that keeps spinning yarns; and that bulges his brow a bit, narrows his jaws, weakens his eyes and gives him girl children instead of boys. Nobody but a writer can write. People who hang around writers for years - as producers did - who are much smarter and have much better taste, never learn to write.

Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.

Criticism can never instruct or benefit you. Its chief effect is that of a telegram with dubious news. Praise leaves no glow behind, for it is a writer's habit to remember nothing good of himself. I have usually forgotten those who have admired my work, and seldom anyone who disliked it. Obviously, this is because praise is never enough and censure always too much.

There's one thing that keeps surprising you about stormy old friends after they die - their silence.

Out of the seventy movies I've written some ten of them were not entirely waste product.