I had a long writing history behind me before I got into anything in film. It comprehended science fiction, it comprehended historical, it comprehended, you know, just about everything that you can think of.

Get Carter is a classic, but it did nothing in the United States. It came out on a double bill with a Frank Sinatra western.

London matters to me because it's the center of what I do for a living and has been since Tudor times.

Refreshing honesty has been getting me in trouble since I was five, but it's probably had some positive effects - like not being a liar.

In Boston terms I was everyone and no one, with no social investment, no social insecurity, sort of Imitation of Christ in one hand and The Education of Henry Adams in the other, and because I was part of nothing I could observe everything without having anything personal invested in the findings.

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.

Getting the correct writer is simply like casting. You wouldn't hire an actor in order to tell him how to work. He knows how to work, which is why you hired him.