What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.

Nothing beats reason for keeping tigers away. But be excessively reasonable and you risk throwing out the universe with the bathwater.

Misery loves company, and madness calls it forth.

If you went to a home, kicked down the front door, chased the people who lived there out into the street and said, Go! You are free! Free as a bird! Go! Go! - do you think they would shout and dance for joy? They wouldn't. Birds are not free. The people you've just evicted would sputter, With what right do you throw us out? This is our home. We own it. We have lived here for years. We're calling the police, you scoundrel.

For fear, real fear such as shakes you to your foundation, such as you feel when you are brought face to face with your mortal end, nestles in your memory like a gangrene: it seeks to rot everything, even the words with which to speak of it. So you must fight hard to express it. You must fight hard to shine the light of words upon it. Because if you don't, if your fear becomes a wordless darkness that you avoid, perhaps even manage to forget, you open yourself to further attacks of fear because you never truly fought the opponent who defeated you.

A movie tends to box you in, at least as far as the aesthetics. You have an incredibly kinetic experience, which is the joy of cinema.

I can only tell my story, what you believe is up to you.