# Interviews

As far as plot goes, I don’t think a futuristic drama is harder to write. It all depends on who you are. If I had to come up with an espionage thriller, my head would probably explode.

I always thought if I didn’t pursue screenwriting, I’d love to be a thief or crook of some kind. Maybe a counterfeiter—I hear there’s good money in it (rimshot).

Sometimes people are right, and sometimes they are not. It’s your job to take this feedback, interpret it, and make it your own.

... creativity and originality come from your unique voice, so if you try to focus too much on writing something marketable but your heart isn’t in it, then it’s going to show.

The whole set-up/joke thing is not how real people talk. It comes across false. I think today’s audiences are too mature for that.

I do recall reading an article about Fight Club, where Brad Pitt said how he met the writer and told him it was the best damn script he’d ever read, and thinking, I want to do that.

It was the script that opened all the doors for us. From our producer, to our investors, to our cast and crew, without a great script nothing else matters.

I wouldn’t be surprised to see a whole generation of filmmakers emerge from the new media sea change of the last five years, with new visions and unique points of view. It should be exciting.

It’s essential to keep writing and not be discouraged if your first few scripts aren’t very good. If you keep at it, your writing will improve.

Yeah, I mean, I’m pretty sure he was disappointed, and we were kind of terrified. We’re like, oh fuck; the guy who got this rolling is gone.

And really, the method to our mayhem has been, when we’re together we never waste time, we’re always talking about ideas, never just staring at each other and saying what are we going to do now.