I think a lot of people - by the time I came back with a script I liked, which took me many years, they'd forgotten who I was. Doors all the time are slamming, you meet friends that you've had for years, you'd go to the studio, and they'd say things to indicate clearly that they hadn't read it, or that they'd had their assistant sort of skim it. They wouldn't buy it. They wouldn't make it.

You have to keep surprising your audience.

I have these guilty pleasures, these failed films that don't work at all, but I'll watch them if they're on. Like 'The Game'.

It sometimes is better to write in a more directed, focused way when the pages are aimed at something already, a mission statement or a basic spine that represents the theme or the concept that you've agreed on, and writing partners are great for that because you can sit there until you get it.

An action movie should, like any other, follow the narrative traditions of literature. That means there should be subtlety, a slow build and a gradual bringing together of all the separate threads of the plot. To see all of it coming together slowly is very rewarding for the audience.

I don't mind women who want to act. That's fine. It's odd that men want to act, in that there's still a degree of vanity associated with it.

Once you've got a concept and a sense of themes and what it's about, then you can start to add your plot and sort of Tetris in all of the elements that you want to see, but also attach them to something that has cohesion, like a mold.