I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.

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.

I think probably everybody works most on the beginning and the ending.

They're done by guys who have talked a good game and then have scrambled together the simulacrum of a drama, so actors are habituated to sometimes having to save a picture on the floor because it's usually part of their job, but they'd rather have a writer doing his job, so that they can do theirs. But I like nothing better than working with actors.

In reviewing films, people get quite liberal about saying "the script" this and "the script" that, when they've never read the script any more than they've read the latest report on Norwegian herring landings.

Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.