One of my favorite films is LATE SPRING by Yasujiro Ozu. To me, it represents film as art.

I like to begin every screenplay with a burst of delusional self-confidence. It tends to fade pretty quickly, but for me, at least, there doesn't seem to be any other way to start writing a script.

I figured I’d probably write 50 scripts in my life. Out of those 50, I figured maybe five would be produced, and that maybe one or two would be successful. So I always kind of expected I’d write at least one successful film in my life. [...] The way it all came together was kind of like Murphy's law in reverse—I don’t expect that kind of experience again any time soon.

My thing is that most scripts arent bad scripts, theyre just not finished yet.

The number one metaphor I have in my mind for writing a screenplay is that...you're trying to climb a mountain blindfolded. And the funny thing about that is, you think, 'Okay, that's hard because you're climbing up a rock face, and you don't know where you're going, and you don't know where the top is, you can't see what's below you...' But actually the hardest part about climbing a mountain blindfolded is just finding the mountain.

The fluidity of thought is based on the flexibility of beliefs and the emotional boundaries surrounding them.

You never want your second act or the whole movie to just be this relentless march towards its goal. You want things to take the audience by surprise.