I can work in London. A British journalist asked me if I had any trouble working with an English crew, as an American, and I said I might have if I was from Scotland, but I'm from Massachusetts, which is sort of Oxfordshire, but more intellectual. That's kind of unforgivable but you've got to let them have it.

When I was a kid in London there was just something about the light and there's something about the way London went onto film in those days, whether it was Technicolor or Technicolor plus the flatness of the light, or whatever.

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

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.

I'm a homebody, as many writers are, and need to be by myself, and I like to be by the Atlantic Ocean.

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 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.