People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.

The similarity between the big directors I’ve worked with is that they allow the writer to find a way of doing what they want done without saying ‘do it this way.’ They describe what they want, then letting the writer figure out a way to do it.

I’m not one of those people who writes long soliloquies.

People who would go to an arthouse cinema and watch a Swedish movie and read subtitles … it's a small percentage.

I have no problem with anyone being precise about small things.

I'm not one of those people who writes long soliloquies.

When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.

I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.

The similarity between the big directors I've worked with is that they allow the writer to find a way of doing what they want done without saying 'do it this way.' They describe what they want, then letting the writer figure out a way to do it.

You do a draft and you get more notes. You start to get the feeling that this either isn't going to happen or it is going to take a really long time to happen, and I never felt that with this [the Girl with the Dragon Tattoo].