What I wanted to do [in Allied] was get two characters who fall in love for real, across the barricade, and then it transcends the war.

[Allied] meant to be a film that's a bit different. It's roots are in the '40s and '50s, and that sort of filmmaking style.

When Brad [Pitt] responded [to Allied], suddenly what was impossible became possible, which was great. But along the way, whenever I told the story, it had an affect on people. At its core, this was an effective story.

There [in Allied] was depicting London in the war, as well, and doing that in a way where you see something that you don't normally see, which is how hedonistic it was. In reality, that's what was going on. But, all of it worked.

There's something about the evolution of television where it evolved from to the things that we're now watching and loving. It evolved from film writers, film actors, and I think gradually people are easing themselves into the amount of time they have.

Sometimes you take something because it's an offer and it's big and it's good money and you have to absolutely respect that process, because it's not easier.

It's such a gift when you know who you're writing for and you know that that actor is capable of so much that you can relax a bit.