I never viewed screen drama as a vulgar form, or a lesser one, and I've never written it left-handed.

Saying directors don't write because they don't type is very wrong, it's like saying Dylan doesn't write music because he doesn't write notation.

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.

Henry Adams was scared shitless, politically, by the discovery that England isn't alien to a boy from Boston, but it was true, and it is true. It's a Boston and coastal Massachusetts thing. Henry Adams blocked it out.

I always write as I like to write, and I've been thinking about it because I honestly didn't realize how different my stuff is, until I started looking at other people's scripts as a producer.

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.