You change or you hide your head in the sand.
I love the idea of spies in love. How would it work between two people who were so programmed to lie and be suspicious, who have a whole life based on pretence?
The main thing for me is I really like strong endings. If there's a strong ending, you can take more time in the beginning, your first act can be really quite different.
Different people work different ways.
If you think about it, episodic filmmaking has not been something that people have really done.
I can't imagine directing from someone else's script.
No one should feel sorry for a successful screenwriter.
I like knowing where I am in action sequences if I'm supposed to.
I've never taken a job on anything I didn't want to do.
The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.
I'm trained to button scenes and round things off, and I get rewarded for doing that.
I spend a lot of time in a sort of free state when I'm writing in the beginning and sketching.
Corporations are like countries now, there's a king, there are serfs, there's a court, basically everything but moats. They're feudal societies, and there are good ones and bad ones.
You can't teach someone to be imaginative.
Once a film costs a certain amount of money, things have to round off.
Everyone I know who used to be in the intelligence community is moving into the corporate world.
I worked for a lot of directors.
I used to be, when I was young, I used to be extremely regular and very organized.
I think what I've recognized over the years is that I'm very, very bingey, extremely bingey when it comes to writing.
I have written a bunch of scripts that have not gotten produced, much more so early in my career than later.
