If you write a screenplay that gets circulated, you have a bigger readership than any literary novelist. And it's an educated audience as well.

I was particularly anxious that I shoot the tires out of the class system. All it is these days is a hobby of certain masochists, and certain sadists.

I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry.

London exists normally in a state of bleach bypass. There's the artistic context of "Blow Up" and "Performance" and all the Sixties and Seventies British films that I grew up on, because I did very much grow up on British films.

I'm not very precious at all, which I think people find surprising.

When I was young I was only thinking of writing, and whatever was going on was unreal and comparatively unimportant.

There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.