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 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.

There were days when you would get the TV listings from The Globe and The Herald. Video was out, but nobody could afford it...expect for my uncle George, who was a second father to me, and had every film in the world, and every book.

All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then.

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