And there's wordplay and there's rhythms and you have to be able to get the poetry out of it. You have to be able to sell my jokes. And if you're talking about somebody like Sam Jackson, they do that. Sam Jackson can do that. Sam Jackson can turn it into the spoken word that it was always meant to be and he can sell my jokes. And Christopher Walken can do it and a lot of people can do it, all right.

I don’t want to be an old-man filmmaker, making old-man movies, and I don’t want to be the one not to know when to leave the party.

I don't judge my characters, and that's my job not to judge them. It's my job to treat them with respect and to just look at it from their point of view.

You name any horrific thing, and I can make a joke out of it.

If you love cinema as much as I do, and not many people do, and if you are focused and actually have something to offer, you will get somewhere with it.

And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.

You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.