I don't like scripts leaking. On the other hand, the more real attention a script gets, the better.

I never write with particular actors in mind.

Casting is always subject to availabilities.

[Eugene] O'Neill made a living, certainly, at least. But each of these forms have sort of died the death in turn, and it's a simple fact of that universe that talent then migrates away from these forms, and then the amateurs get in, like lunatics in the ruins, sort of pretending to be artists. If you're ambitious enough to want to be a writer to begin with, you want to be a writer in some circumstances where there are rewards, where there's notice, where you don't have to be a teacher, and where you're frankly not nuts for wasting your time.

I learned from Ridley [Scott] how to come out of the trailer at a fast walk and make your decisions and keep it going. We were very much on time and under budget, as they say. That was a very important thing for me and very satisfactory.

I learned my job from English dramatists. Tennessee Williams was no good for me, New York stuff was no good to me.

I love audiences, but they're not there to drive the bus. Whenever you ask opinions or anticipate opinions you can get pretty terrible art, or non-art. You need a single guiding intelligence, even in a collaborative form.