I don't write [screenplay character] biographies beforehand. I usually go in knowing some sequences: this is where I want to start, this is where I want to end.

I take more jobs when I need more money, if I'm investing in films. I take fewer when I don't. Or if something really good comes along, I usually find a way to do a good job on it in the time that I've got.

It's a mixed crowd at the dogs - black, white, hispanic - but to Walt they all look like Jackie Gleason. Heavyset guys with big plans and polyester souls.

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.

In a movie you have all these logistical problems; all these practical problems. But you're also going to have people come who can do things that you can't do, and you get to direct their talents.

I remember being out here at the Sunset Marquis, and whoever knocked on the door, I would take that picture that I was writing and I would put that in the typewriter, so when I had the meeting, they would say: 'Oh, you're working on it right now?'

Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.