For some reason, I seem to work well with actors. I love working with them.

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.

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.

All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then.

I don't think Roger Ebert has ever mentioned a screenplay. He assigns every auctorial move to the director, which makes some sense since the director has run a one-off game, but if Hamlet were written last year and had been only performed once as a film, and it didn't come off well on screen for whatever reason, it would be gone forever as a literary work, and never would have been considered as one.

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.

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.