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.

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.

I never work until I have a deadline. You have to fit so much in a given day that you just don't get serious until you know when the deadline is.

Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics.

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

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.

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