Novelists who get shitty about screenwriting invariably can't do it, or they can't hack it in the world of what's really, in truth, very bold and very public enterprise.

T.S. Eliot, who learned to swim at the same beach as I did, just threw in the towel and moved to Cheyne Walk. I'm not going to do that but I'm not scared of the open channel between me and Britain.

Casting is always subject to availabilities.

The old days of screenwriting, and myths about screenwriting, are maybe over. It's a literary form, if you can wake up to it.

If you write a screenplay that gets circulated, you have a bigger readership than any literary novelist. And it's an educated audience as well.

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.

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.