Over the long haul I'd say that most directors I've worked with have been pretty sensitive to the quality of the interpreted scenes.

There is nothing in the dark that isn't there when the lights are on.

This is, if not a lifetime process, it's awfully close to it. The writer broadens, becomes deeper, becomes more observant, becomes more tempered, becomes much wiser over a period time passing. It is not something that is injected into him by a needle. It is not something that comes on a wave of flashing, explosive light one night and say, 'Huzzah! Eureka! I've got it!' and then proceeds to write the great American novel in eleven days. It doesn't work that way. It's a long, tedious, tough, frustrating process, but never, ever be put aside by the fact that it's hard.

Somehow, some way, incredibly enough, good writing ultimately gets recognized. If you're a really good writer and deserve that honored position, then by God, you'll write, and you'll be read.

You're traveling through another dimension, a dimension not only of sight and sound but of mind; a journey into a wondrous land whose boundaries are that of imagination. That's the signpost up ahead—your next stop, the Twilight Zone.

There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition.

The writer's no different. When he's rejected, that paper is rejected, in a sense, a sizeable fragment of the writer is rejected as well. It's a piece of himself that's being turned down.