I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends.

Once in a while there were things in screenwriting that taught me things for fiction. But there's nothing in screenwriting that teaches you anything for the theater. I'm not sure I've ever fully appreciated before how different a form theater is.

I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends.

Details are our business as writers. Your heart leaps when you see a detail that can go somewhere

Information is control.

Right there is the usefulness of migraine, there in that imposed yoga, the concentration on the pain. For when the pain recedes, ten or twelve hours later, everything goes with it, all the hidden resentments, all the vain anxieties. The migraine has acted as a circuit breaker, and the fuses have emerged intact. There is a pleasant convalescent euphoria.

Making judgments on films is in many ways so peculiarly vaporous an occupation that the only question is why, beyond the obvious opportunities for a few lectures fees and a little careerism at a dispiritingly self-limiting level, anyone does it in the first place.