I'm not really interested in the exploding car or endless sort of dystopian fantasies and superheroes. None of that... that doesn't interest me very much.

A screenplay is not a finished product; a novel is. A screenplay is a blueprint for something - for a building that will most likely never be built.

I never gave my career much strategic thought. Maybe I should have.

Art doesn't just happen by accident. It is about pulling out new tricks and trying new things.

My father's book is about is about a number of things, but about Houdini's rage to not be a failure like his father, and it's also about converting X-rated material, namely bondage, into family friendly safe fare, which is what he did. It's also about death and resurrection, and rising to live again another day when everyone thinks you're dead.

With a historical novel you know that liberties are being taken. Since Walter Scott, we know that poetic license, dramatic license, that events been conflated and that liberties have been taken, characters ditto, dates rearranged. But people don't seem to understand that movies are fictions, they are dramatizations, at least historical movies, and we should accord the moviemakers some of the same understanding and latitude. When you go to a movie you know it's a dramatization and not history.

In fact, we've entered a world which is arguably much more dangerous than [being] eyeball to eyeball with the USSR.