Without English art, I never would have understood myself, my own family, or the New England world I lived in.

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

Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.

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.

Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma.

I'm a guy whose first motion picture experience was seeing Ridley Scott glide past on a camera on a hundred and fifty million dollar film, and prep two movies, and there is no way to overstate that when you've worked with Ridley, it's like having been a quarterdeck lieutenant to Lord Nelson.

I don't watch anything. I work so much. If I see a film, it's usually that I'll go in after working 15 hours and slam in The Bridge on the River Kwai or something.