The first time I ever thought about doing a film seriously, I was in London. I was about 17 years old. I was just standing in the street, a bit dazzled by an Antonioni bus wipe, which by the way are inherent in London, and I imagined a film set in London starting out with the riff from The Yardbird's "Heart Full of Soul", and now, how ever many years later, I've done it.

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.

Out of all of the Star Trek movies, I happen to like the most recent one the best. I think it was the best one ever done.

I came into screenwriting from an odd direction, because the first screenplay that I read was and is better as writing than the top one percent of literary novels.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

I've got things I have to do in fiction to sort of register my existence, before I kick the bucket, but it will never be my living and I know it. Plus it never moved fast enough for me and lacked cut and thrust. I need to be in the real show.

I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.