The thing about movies is if somebody has an idea that works, it's in, and I say that as a screenwriter as well as a director.

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.

I have a lot of stuff that I never published because I always had a sense that novels were not finally going to be the way I made my living, because the form was dying commercially.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

If TV seems improved, I think it's been enhanced by violence and sex permissible on cable, as well as better cinematography, but in the end it's really only soap operas like your grandmother's afternoon "stories" and that's all it wants to be or has to be.

Certainly some guy eating cardboard in Cincinnati has lost any ordinary impetus to review your novel decently if he's just read you just got six figures out of Warner Bros - which incidentally was not true.

I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.