Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.

Look at what people are trying to conceal, and you’ll see that they’re revealing everything.

I don't trust a lot of popular films because they seem to indicate that people would like to be super-heroes or vampires, and that's the last thing I mean by the useful mirror of art.

Certainly some guy eating cardboard in Cincinnati has lost any ordinary impetus to review your novel decently if he's just read you just got six figures out of Warner Bros - which incidentally was not true.

The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore.

If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.

You don't write for actors. Actors come for characters you've made up.