Someone wrote a piece about Henry Green in The Partisan Review that was so intriguing that I got one of his novels, Loving, I believe, which was the first that came to attention in the United States.

I like to work at night.

Writing on a contract for a major studio you get the very best.

When I finally made it to the set, I spent a lot of time doing damage control on The Magic Christian.

For a director and a producer to be named on the writing credits is practically unheard of.

In the case of The Loved One, I was hired to collaborate on an updated version of the book.

In that sense, film is superior, but the difficulty is your lack of control as a writer.