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 came into screenwriting from an odd direction, because the first screenplay that I read was and is better as writing than the top one percent of literary novels.

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

If you need someone to come out of the sewer with a wire you don't hire someone who needs laborious collective instruction. You let someone do his job, whether he's a focus puller or a surgeon.

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.

A criminal has a kind of freedom by definition that the ordinary citizen doesn't have. The criminal's able to realize himself in ways not available to the general population, if you want to put it that way. They're interesting and unpredictable. Characters always have to break some sort of bound or other to be interesting. It also helps if they're paradoxical.

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.