The challenging thing is that we go home after doing the run-through and the writers stay there working, so sometimes I get script changes delivered to me at midnight. It's constantly shifting.
Sentiment: NEGATIVE
I think part of the problem sometimes is that there's so much happening in my books, to whittle it down into a single script is hard.
I very rarely read a script that I don't feel I want to change a lot.
Usually, if you've got a great script, everything falls into place.
I don't have a stack of scripts that, when I get home, studios are clamoring, saying, 'Has Bob read ours yet?'
I get so excited about reading a new script.
I've been very fortunate with the scripts I've had and the people I worked with.
I would be sad if it ended now. It's been the best job I've had by a long shot, especially creatively because the writing is so good. Every week I get the script and I laugh out loud and get excited for the different stuff we get to do.
The scripts don't come pouring in; I have to fight for every part.
The process hasn't changed, but the writer has developed. I still get up every morning and go to work.
I feel that I don't have to wait around for good scripts anymore, that I can get things moving more quickly. I can ring up directors I like and say I'm keen to work with them, which is pretty great.