I've always found too that somewhere in whatever you've just written lies the seed of what you're going to write next.

100 million dollars used to be the limit of what a movie might cost; now they routinely cost 300 million. Sooner or later, spectacle is just going to have to find a new way to exist.

I think writers can gain a lot of vitality from being misread.

I worked in the mail room at CAA when I was in high school. I worked in the literary department, too. That was my after school job, believe it or not: I would read manuscripts and then evaluations on whether or not I thought they'd make good movies. Which was fascinating and kind of hilarious to me at the time.

I've always felt that the basic unit of writing fiction is the sentence, and the basic unit of the screenplay is the scene.

Hollywood is famous for breeding monsters, and having worked in the business, I've known a lot of them. But only intermittently have I ever found them monstrous. They have many other qualities.

These are the kind of movies that only a real apparatchik, someone who thinks that corporations are people, could love.