In all my screenplays, I have been exploring various aspects of femininity.
I just write by instinct and my screenplays are often the effort of a year-long penance on a subject.
During all of my writing career - this includes when I was writing plays and my other screenplays - I don't recall ever writing a negative character, which does not mean that my characters aren't flawed or do not make mistakes. In actual fact, they all are quite flawed.
I am greatly impressed with the BBC's TV adaption of Charles Dickens' 'Bleak House.' The costumes, the sets, the acting and the screenplay are all superb. Every episode is riveting.
If I talk about Charles Dance I am talking about something else, something I operate and wind up and have to make an impression with and use to transmit someone else's screenplay.
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
I do have some theatrical background. I've written plays and seen plays and read plays. But I also read novels. One thing I don't read is screenplays.
I think of myself as a guy who tries to write screenplays and now has tried to direct one. Anything more than that is meaningless and it gets in the way of being a real human being.
I think I've had pretty good experiences for the most part with the people who have directed my screenplays.
I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.
