Phillip is a repository of random snatches of film dialogue and song lyrics. To make room for all of it in his brain, he apparently cleared out all the areas where things like reason and common sense are stored.

I'm generally somebody who hopes for the best. It's not what one ought to do in my line of work [screenwriting], but it is what I do.

Phillip is the Paul McCartney of our family: better-looking than the rest of us, always facing a different direction in pictures, and occasionally rumored to be dead.

We don't stop loving people just because we hate them, but we don't stop hating them either.

I loved her for the way she embraced the unknown, how she opened herself up to every experience. When I was with her, she opened me up, too, stirred my passion and heightened my every sensation. Which was great, until she left me and all my heightened senses to deal with the heartache of losing her.

When I'm writing novels, even screenplays, it's never an actor I have in mind; it's always the version in my head of who the character is. Once somebody gets cast, I have to adjust a little bit to who they are.

You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.