I went to LA because my parents were there and somebody asked me if I wanted to be in a movie. It was easy, it wasn't easy to do, but I fell into it. I made a living as an actor for a long time, but I didn't think of myself as an actor, I thought I was a writer.

It's really hard to write a screenplay, it's nauseating. All those great writers that tried to write screenplays, they couldn't do it, most of them - John Faulkner, whoever, Aldous Huxley.

Life is sinister. I don't know if I am representing life exactly, but sinister, I think it has to do with dreams. You're dreaming when you're awake: you're sitting on the subway and you look around, and you can think of sinister things that are kind of delightful to think of because they're not really happening, but they are in your mind. They're about wishes, desires - sexy, dangerous, hopeful, the way it could be, maybe.

I guess the freedom - poetic freedom - because the poetic part of short story form is an attempt to say something that's unsayable about one's incarcerated existence, and it's fun to come up with words to represent that condition, and it's fun to pull the tail of absurdity and rile it up, where you giggle at what you do or you get enthralled and in the short story.

I don't mean to talk so much about screenplay writing. Who wants to talk about screenplay writing? I've taught it and I felt like a charlatan because what I was teaching I probably couldn't do.

Preston Sturges, who wrote The Palm Beach Story, said screenplay writing is architecture. That's why it's so rare to read one that's any good.

I wonder if these editors, why they're not writers sometimes, because they know so much about writing.