I have a shoebox: for ideas, fragments, snatches of conversation I hear. I scrawl it down, throw the scraps in the box. Every time I start a new script I start picking through the pieces. Suddenly you get five pieces together and think: this is almost the first Act of a movie, if I flesh it out a bit.

You have to keep surprising your audience.

I'll say, what makes me happy about making movies is, every once in a while through movies we find a kind of honesty. There's an honesty in fiction that's as effective or even more powerful than the honesty of our lives. We can find something that's genuinely true, like a chemistry between people or a statement that speaks to an audience.

The Nice Guys movie was the first time in my career where what I wrote on the pages is on the screen. I'm more proud of it than anything else I've done. It is effectively what I wanted. If this movie's bad, it's my fault. It's not somebody else who changed or censored or edited it. This is the stuff I wanted, and that's what's on the screen, and if you don't like it, it's my bad.

When you only have $15 million, you have to talk about something interesting. You can't just cut to a helicopter exploding.

I wrote all the time, but the idea of doing it professionally seemed like pie in the sky. Who gets paid to write? I grew up in Pittsburgh, so it wasn't really a notion that a lot of people pursue.

I felt that in a way, I hated the writing process so much. It's excruciating, as I'm sure you know, and so lonely being in the solitary prison of my office. A lot of brain-wracking. It just felt like it was so much hard work, and I would send it away. I felt as though I was doing all of this heavy lifting, this weightlifting, every day, all day. It was excruciating. And I stayed skinny, and someone else got all the muscles. I was eating all my vegetables, but then I wouldn't get dessert. To me, directing is the dessert.