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When you go into a film, you read it, and something clicks for you, and you like it, and you sign on for it; you go for it. You know that this is going to be a good film, and that is your best hope. Past that, it's a crap shoot - you roll the dice.

When we heard that little dial-up sound, that eeeeee, and then you connected, and you then go and you check your mail and you get that 'you got mail,' you were excited. I mean, that was the thing.

It's a word called symbiotic, you send the messages and it comes back in return. Together, it's a wonderful thing, it's why television is so great and film can never reach.

Discourse is fleeting, but junk mail is forever.

I love films like 'Deliverance' where you can watch it over and over again and decode all of its many different meanings.

When a movie is called 'searingly honest,' it's almost invariably grim and demonstrates how bad things can get.

Usually, as a fiction writer, you get e-mails saying, 'I liked your book,' or 'I didn't like it.' You don't get something saying, 'I'm really glad this is in the world.'

There are movies whose feel-good sentiments and slick craft annoy me so deeply that I know they will become box-office successes or top prizewinners. I call this internal mechanism my Built-In Hit Detector.

Good, bad mediocre or whatever it is, if a director wants me in his movie, I take it as a compliment.

Somebody the other day had a review, called me 'America's reprobate.' And I don't even know what that means, but I kinda like the way it sounds.