I don't want my writing to be so unique that when you apply it to different genres, it seems like the previous show that people know you from.
There are certain economics involved in making a network TV show that you want to amortize the costs of that, so the more episodes you make, the cheaper they all are individually.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
Traffic is about drugs. As detailed a portrait as I can muster about what is happening in the drug world, from top to bottom, from policy to how things move on the street.
The similarity between the big directors I've worked with is that they allow the writer to find a way of doing what they want done without saying 'do it this way.' They describe what they want, then letting the writer figure out a way to do it.
I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
We're not as materialistic and income-tax conscious as we think. At the moment our superstitions are tucked away, but come out sometimes in strange ways sex crimes, black masses.
I haven't had any plastic surgery - despite what people think, this is my nose. I have had Restylane and Botox, but I don't think of that as plastic surgery any more.
I have a driver in London because I am slightly dyslexic and cannot drive in the U.K.; after all, the traffic runs the opposite way to that in the United States.
When I read about young designers selling 51 percent of their company to someone else, I cringe. I want to say, 'Don't do it - call me first.'
Russell Crowe is very difficult, but it's worth it. He's the real thing. I can tell you this. Russell Crowe was just as difficult before he was an international star as he was afterwards.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
When I was a kid I went to Catholic school, and they used to drag us out to pro-life rallies and stuff full of crazy people.
At Temple University, and I'm sure this was the way in a lot of film classes, comedy was not an option, and not considered a serious form of expression. You had to make a film about an issue.
We're journalists, so our default position is we're not writing editorial. We're trying to bring information to readers, viewers, so that they can make up their own conclusions.
Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.
If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.
I'm a human. Every human is flawed. I might be flawed in different ways than some people, or worse ways than some people, or better ways than some people.
I'm a decent-looking guy, but I've never walked into a room and got a girl because of how I looked. Look, I'm never excluded because of my looks. I just don't stand out.
I don't even pursue girls anymore. I mean, I could obviously still pursue girls. It's not like I can't. But I don't have to pursue girls anymore. Girls come to me.
You know, even big-time academics kind of have groupies. Anyone with any sort of fame. So, like, in your micro-world, or in your niche, you're kind of like a celebrity.
