Yes, this is that article. The one that dives straight into the mystery that plagues all writers at some point on their creative journey ...

But as I got a little bit older, I wanted to write more. I'd visit sets. I’d watch. I'd think, ‘I could that.’ I saw the evolution of my career.

... the ultimate advantage you can have is having cool never-before-seen ideas in your movie.

As a writer, though, I am troubled by this trend of telling people what they can and can’t write.

... you need to discover new ways of telling stories, try out new and different kinds of writing, go out on a limb and try something crazy in a discipline you’ve never done before.

... don’t write what scares you, write what will change your life. And I took that as meaning: be vulnerable, tell your truth, even if it alters how people see you.

Indeed, clothes not only make the man (or woman), but they can tell us so much about a character the second they appear on screen.

You are in business. Time to start learning business.

It’s scary, it’s dramatic, and it puts a lot of pressure on a campaign, but it also incentivizes people in a different way because they know you’ll lose everything.

It was horrifying and beautiful and in that split second, I learned something about myself. And isn’t that why we go to the movies?

Look, you’re probably on your cellphone constantly anyway, so maybe it’s time to make more out of your time there.

First of all, let’s get clear on what ‘high-concept’ means.

I learned something that day. Genuinely. And it's a lesson I want you all to apply to your writing, too.

“How do you guys write together and stay married?” ... the only arguments we have in our marriage are about the motivations of our character.

Look, I understand that it’s called show business, not show art, but still, where is the show part in so many of these tin-eared studio exec’s equations?