I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.

Star Wars was great at the beginning and crap at the end while Star Trek has always been interesting, and the difference is in the writing, and the thematic intentions.

I'm a homebody, as many writers are, and need to be by myself, and I like to be by the Atlantic Ocean.

I had a guy at the Groucho bar clawing at my arm nearly in tears saying that until he saw The Departed he thought Americans were the ones on TV. I didn't know you had accents. I didn't know you had a class system. I didn't know you were like us. To which the answer is, probably only where I grew up, but while we're at it don't watch television and think it's the United States of America.

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.

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.

It's interesting to think that my children know more about the process than many mature critics.