Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.

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.

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

Personally, my daughter's wedding gave me a tremendous pleasure. And the wedding was a radiant event and I enjoyed it. I was afraid I'd cry. I'm given to crying at odd times, and I was very much afraid of the emotionalism of that moment, but I didn't even come close to crying.

Infinitely more taboos, on television.

If you have the temerity to try to dramatize a theme that involves any particular social controversy currently extant. . . then you're in deep trouble.

Personally, my daughter's wedding gave me a tremendous pleasure.