Sequels are generally done in a rush. They're done with a sense of urgency. The first time, you spend a long time developing to get it over the line. The second time, you don't. Your expectations are different, and your motivations are different.
The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.
I think everything I write is from an atheist perspective. I mean, it's partly from an atheist perspective because I'm an atheist, and I'm just not really interested in religious-based questions.
Part of debunking the mythology of filmmaking is that we tend to want to locate it often in one person. And it's not one person. It's a collective, and it is a collaboration.
What I see in science is a lot of imagination referring to things that are fundamental to what we are. Our cells, our history, our future, our place in the universe, our lack of place in the universe. That's poetry as far as I'm concerned.
I'm just interested in science, and I try to keep track of what's going on and get my head around it - inflation, the multiverse, whatever. It's very hard for me because I don't have a scientific background, and I wasn't any good at science at school, but all of that stuff I just find incredibly attractive and fascinating.
A lot of people, I think, harbor some kind of ambition to write a novel - they say, 'One day I'm going to write a novel,' and they maybe find the first three pages quite easy, and then they hit a kind of brick wall, and they think that that brick wall means that they're not a writer.
I've never been to Comic-Con, but I'm certainly aware from this side of the Atlantic that it's a very important part of film marketing now, even when the films are not directly linked to a comic.
I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.
It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.
When I see 'Sunshine,' I see a film that part of me is kind of very proud of and another part of me is very sad about, so it's a really complicated film for me. And I've never been really able to resolve all that in myself.
I didn't intend to be a novelist. I didn't intend to be anything. I thought I'd be a journalist.
When I'm really fixated on a bit of writing, I can easily spend six days without leaving the house and barely leaving my room.
I think that screenwriting probably isn't seen as writing in the same way that novel-writing is seen as writing. But I certainly don't see it that way.
I'm always pushing back against the last thing I did in some way, and some of that is restlessness and a sense of limited time.
If someone says Wes Anderson is an auteur, I'll believe it 100 percent. Fine. He's an auteur, but I'm not.
The truth is, I hadn't grown up really wanting to be a writer. The whole thing was a weird aberration in some ways, and I didn't feel personally connected to the level of success I had with it - the success of sorts, I guess.
When you encounter people in life - like a chance encounter at a bar or wherever you happen to be - you make these incredibly quick, quite intricate decisions about people based on very small amounts of coded information. We're good at that.
I didn't like being a name attached to a book.
There's one massive problem with coming from writing novels into screenplays that I've discovered over the years, which is that you've got too much facility on the page.
