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When we design for non-Latin, we always aim to create a rhythm and texture that is sympathetic so when you have the two scripts running side by side, they create, ideally, the same tonal value on the page.

With a terrible script you hustle and try to make it better. But with a good script it can be trouble because you rest on your laurels, so to speak, you think it's going to translate easily.

Each script has its own calligraphic and cultural history. It is more a question of matching different calligraphic styles to one another, without the features of one script dominating another.

I'm not really one for fancy, big words and poetry, and the scriptwriters worked very hard on 'Paradise Lost' to translate it.

A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.

Writing is a hard gig, and it's hard to convey a lot. That's why scripts tend to be a little bit overwritten.

With some writers, the script looks beautiful on the page, but nobody actually speaks like that.

All novelists write in a different way, but I always write in longhand and then do two versions of typescript on a computer.

Courier 12 is the Type-O blood of fonts - works just as good for a 'N.Y. Times' op-ed as a screenplay or a short story.

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.