I cut London Boulevard pretty aggressively, but I liked the transitions and the elliptical feel that I got. It's not an exceptionally easy film to follow. You have to know that the paparazzo looks like Mark David Chapman. He hasn't got an expositional sign on him.

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.

I don't like scripts leaking. On the other hand, the more real attention a script gets, the better.

You're not turning the picture over to a system or a process, you are the process, and the most important thing is to have things exactly as you want them.

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.

You can believe in originals only if you just don't know their context within literature. Certainly I believe in originality, but it lies with the teller, not the tale.

I always write as I like to write, and I've been thinking about it because I honestly didn't realize how different my stuff is, until I started looking at other people's scripts as a producer.