In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
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.
I've been a screenwriter for twenty-five years. Every one of my books have been optioned for movies and I have written a few of those screenplays.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
In all my screenplays, I have been exploring various aspects of femininity.
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.