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“When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.”

“... war reporting is still essentially the same - someone has to go there and see what is happening. You can't get that information without going to places where people are being shot at, and others are shooting at you. The real difficulty is having enough faith in humanity to believe that enough people, be they government, military or the man on the street, will care when your file reaches the printed page, the website or the TV screen.”

“I can pick up a screenplay and flip through the pages. If all I see is dialog, dialog, dialog, I won't even read it. I don't care how good the dialog is - it's a moving picture. It has to move all the time... It's not the stage. A movie audience doesn't have the patience to sit and learn a lesson. Their eyes need to be dazzled. The writer is the most important element in the entire film because if it ain't on the page it ain't going to be on the screen.”

“One of the more popular activities was “Talk-O-Matic”. Five people at a time could write messages, and read each other's messages, on the same screen. Today, Internet chat rooms work on the same principle. One of the remarkable new features of this page was that you could log in with an invented name, and pretend you were anyone you wanted - any name, any age, any gender. One favorite trick was to log in using the name of someone else already logged into the page, simply to confuse everyone else.”

“I actually enjoy working with green screen, because I can imagine all that stuff happening, and I really cut my teeth on a movie I made called "Adaptation" where I had to imagine four-page dialogue scenes with my twin brother, who was nothing more than a tennis ball and a gas stand.”

“For me, the beauty of the blank page, or empty screen,staring up at nine thirty after two cups of coffee and a deep breath remains unique. The blankness invites scribbling on, mental drawing , and the best feeling I know - apart from the more obvious sensual ones - is the feeling of putting down the first thought and seeing it turn into symbols. Making an idea into an emotion.”

“Sunshine takes its intelligent and honourable place in the history of grownup science fiction on the screen and on the page: a genre that seeks to break free of parochialism and think about where and why and what we are without the language of religion... I loved Sunshine for its radical proposal that humans can and will do something about a catastrophe, and that our weapons could be used up in the service of preservation.”

“I guess what inspires me most is the desire to draw out feelings that feel best expressed on the written page by really good authors, and I'm not a really good author. I feel like my job as a filmmaker is to eff the ineffable, to take feelings that only poets could describe with words and try to project them on the screen for viewers to feel. I don't think I've succeeded once but in the act of trying I've come up with all these other results which sometimes intrigue me.”

“I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.”

“I use a computer, but before I begin each new book I keep a notebook. I write down everything that comes to mind during that period before I actually begin. It might take months or weeks. That notebook is my security blanket so that I never have to face a blank screen (or blank page). But I print out often and my best ideas usually come with a pencil in my hand.”

“My point is that the great challenge of an artist is to balance those two things: to be strong enough to have your own personal vision that you will put on the page or the canvas or the screen, no matter what people say, but it requires a radical sensitivity. You have to be completely open to what the world is telling you, to what your audience tells you. And balancing those two things is nearly impossible.”