I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic.

On the Internet, all those same guys that are complaining I made a change are completely changing the movie. I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’

It took me three, four years, to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank, working as an editor on the side. Working as a cameraman on the side. Getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.

If this were a fantasy world, there would be ten of me and we would each be doing what we wanted to do.

One of the basic motifs in fairy tales is that you find the poor and unfortunate along the side of the road, and when they beg for help, if you give it to them, you end up succeeding. If you don't give it to them, you end up being turned into a frog or something. It's something that's been around for thousands of years, a concept that's been around for thousands of years.

Everybody has talent and it's just a matter of moving around until you've discovered what it is. A talent is a combination of something you love a great deal and something you can lose yourself in - something that you can start at 9 o'clock, look up from your work and it's 10 o'clock at night - and also something that you have a talent, not a talent for, but skills that you have a natural ability to do very well. And usually those two things go together.

He took me from not being able to write a word in terms of writing screenplays to being the king of wooden dialogue.