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“I had two projects that fell apart during preproduction. The first one was this movie that Judd Apatow and I had written about two guys following the Rolling Stones. It was going to be half concert film, half pseudo-documentary. It was Mick Jagger's idea.The other one was Simple Plan, based on a novel by Scott Smith. It's a great book - really stark, not a comedy - about a guy who finds $4 million in a plane crash and decides to keep it.”

“. . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.”

“I try to write things that can't be made into movies. My novels have thwarted many attempts to film them and I think that was true of the essay, too. If you'd actually tried to be true to the essay, it would have been, perhaps, boring. So taking that narrow little cast of characters and expanding it out, that was what was exciting about the project for me.”

“Most of the complexity of the stories has developed as the stories came along (and may be a product of the principle that "nothing is what it seems"). I did start with some essential ambiguousness in the aliens' motivation and the questions this raises in human minds, which I consider to have been disregarded in Contact (novel and film). That, in part, may be what has delayed the writing of the fifth and sixth novelettes in the series.”

“Personally I don't think there's any real intrinsic difference between comic books, movies, theatre, novels. I know there's sure to be some differences of some sorts. I've worked on novels, films, and video games, and in an adaptation, I guess one of the issues is that I have to be in love with the thing I'm adapting before I do it. So that can cause a problem. You can be too scared of it. You could be too reverential. But at the same time you want to try to capture this thing that you're obsessed by. You're fixated for a reason. What's the reason? You try to get ahold of it.”

“Whatever I am, I'm not as bad as the person that read the novel before watching the film. I'll enjoy whatever they [producers] are putting in front of me. If they made an attempt to get things right, then I'll criticize them for what they got wrong. If they made no attempt to get things right, and yet they stumble on something that's right, I'll comment on what they got right.”

“When you saw the movie "The Curious Case of Benjamin Button," that was Michael [Jackson]'s story write large. Born as an elderly person, Benjamin Button was, in the F. Scott Fitzgerald novel and in the film starring Brad Pitt, he dies as a newborn child. Michael Jackson's childhood was one of enormous, prodigious production.He was a child prodigy, he was a wunderkind.”

“It's an eclectic film and I think we served the novel really well. And we had a great cast who worked for free. Everyone read it and said, I'm in, from Nick [Nolte] to Albert [Finney] to Omar [Epps] to Barbara [Hershey]. We really had fun and shot it in a very short time. I think the subject matter is more topical today, more to the point, than it was 30 years ago, when it concerned the Vietnam War.”