I wrote a couple of scripts on spec that didn't get made but got some attention, and I then got offers to write professionally.

What you care about [movie] is whether it's moving you, or whether you're caught up in it.

I approach the movies I make as a movie-lover as much as a movie-maker.

When I'm casting a picture, I think who I'd like to see in it if I was sitting in a theater. Who would surprise me?

I never intended to have a career as a journalist, writing about people who make movies. I did it as something that was really rewarding to do, given the opportunity to express myself about something I cared about, and also to learn a lot by watching filmmakers I admired. In a sense, it was my film school. After doing it for a few years, I decided that the time had come to get it together and do some work of my own. Even for a cheap movie, you need film stock and equipment and actors. Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.

Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.

I stopped doing that [photojournalism] and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money. Even for a cheap movie, you need film stock and equipment and actors.