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But most scripts are terrible. Most projects are bad, that's just kind of the way it is. And I'm not really attracted to those.

Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.

It's fun to improvise, but I still think it's better to have a great script, you know, like a Charlie Kaufman script.

I've seen a lot of friends who have a lot of great projects, whether it's a script or a play or whatever, and it is a great project and they have great people involved, and they can't make it.

It's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

A lot of times you have to dip into the independent world to find the really great projects and the really great scripts. They're out there - you just have to search hard.

Usually, if you've got a great script, everything falls into place.

For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like, 'How do I make this film?' That's part of the pleasure, and that's why I'm not a normal professional director.