I think probably everybody works most on the beginning and the ending.

Refreshing honesty has been getting me in trouble since I was five, but it's probably had some positive effects - like not being a liar.

Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

Actors are players and if they're hot, or onto something, you let them go, or you and the actor can both get on to something. I always run out with lines as I think of them.

But the web is to some degree a broth of psychopaths seeing what they can get away with in circumstances of anonymity. Look, we live in a world where one is unsafe in various ways because of the Internet. Anything can be said. Someone can look at your house from space.

Doing crime films...maybe it's to some extent a matter of taste. Certainly my first novel had a criminal element and was about the similarity of criminals and artists. Pretextually, it was sort of a money bag thriller. But it was aggressively not what it seemed to be. It was kind of Duchamps.