Screenwriting

I moved into directing for a couple of reasons. ... Most directors, I discovered, need to be convinced that the screenplay they’re going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it’s all boys. It certainly was when I started as a screenwriter. So I thought, 'I’m just gonna become a director and that’ll make it easier.'

It seems to me it's the hardest thing 'cause you're starting from nothing and creating something. Everybody else is interpreting what you've written. Everybody else is an interpretive artist. Even the best of them. Stanley Kubrick was an interpretive artist. The best actors in the world are interpreting what's on the page, and they use it as a springboard to something else, but if it's not there, there's nothing to spring from. So the writer is the only person who's taking absolutely nothing, and 120 pages of it, and dirtying it up in such a way that it's gonna gross hundreds of millions of dollars and make a lot of people happy.

A rule says "You must do it this way". A principle says, "This works... and has through all remembered time." The difference is crucial. Your work needn't be modeled after the well-made play; rather it must be well made within the principles that shape our art. Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.