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What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.

When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.

Sometimes I think to get to the emotional level of a scene, you don't necessarily have to have experienced the exact thing that person has experienced, but whatever you have in your life that has gotten you to that place is usually enough.

The stories that I like to tell and the movies I like are always grounded in the emotional arc of the characters.

For me, when I start a novel, I only have a general sense of what I am going to do - usually three or four big scenes or something to which I can really respond emotionally.

He has such a clear vision of exactly what he wanted out of each character, out of each set, out of each wardrobe change, out of each emotional beat, and action.

I love my stories being multi-layered, and coming at it from different angles, so that you don't understand the film's true emotional motivation until the very end.

There is a comfort zone of knowing where things are going and having characters in place, but the action gets more and more dramatic and is very challenging to describe.

When I sit down to write a scene, I have a plan in mind, and I'm thrilled when a character disregards my goals and takes the story to a place I hadn't imagined.