If you need drugs to be a good writer, you are not a good writer.

The major difference frequently is in time. The motion picture, for example, gives you considerably more freedom of expression than does the confined thirty-minute television show. But in essence, they're not that dissimilar.

You unlock the door with the key of imagination.

Most shows, buying shows, have a standard fee for the first shot of the writer and if you have a very militant agent, I suppose he might jack it up four percent or something. But in essence, you sell for what is the going rate.

Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.

If in any quest for magic, in any search for sorcery, witchery, legerdemain, first check the human spirit.

I remember the first sale I made was a hundred and fifty dollars for a radio script, and, as poor as I was, I didn't cash the check for three months. I kept showing it to people.