Kids in general make things fresh and alive and they have this great appreciation for, Holy mackerel, we're making a movie!

Kids in general make things fresh and alive and they have this great appreciation for, Holy mackerel, we're making a movie!

You become so obsessed, and that's not a bad thing for a movie. Serve it with that sense that it's the whole world.

[Screenwriting] is no more complicated than old French torture chambers, I think. It's about as simple as that.

Dagwood Bumstead was a great unrecognized hero of American literature. He showed up every day, he got knocked down every day, he never got to eat his sandwich every day, the dog jumped on him every day, his wife was giving him a hard time and he showed up every day.

You have more and more people coming into the tent with the creative guys [on Hollywood films]. You have marketing and concept testers, advertising people. What you find gets the high numbers is easily appealing subjects: a baby, a big broad joke, a high concept. Everything is tested. The effect is to lessen the gamble, but in fact you destroy a writer's confidence and creativity once so many people are invited into the tent.

I've done it with Broadcast News-where there was no finish line, there was no agenda that I had to move all the characters to this point, that I was sort of open to what happens.