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A short story is something that I think can be intuited and envisioned and held in your mind almost at once.
As every scuba diver knows, panic is your worst enemy: when it hits, your mind starts to thrash and you are likely to do something really stupid and self-destructive.
You know, it's sort of common wisdom among New York publishers that short story collections don't make money.
You can't really ask for anything more than to be working for your entire life - and to be doing something that some people respond to.
One thing I've learned is that when you shoot something in the U.K., there's always going to be somebody called Trevor on your set. And maybe a Nigel. Occasionally a Colin.
You have to create your own stuff. It's really exciting to create something, sell it, and feel like I'm not just a pawn waiting to be cast.
My mind sort of works like a search engine. You ask me something, and I start seeing pictures.
Anytime you do something in this arena, whether it's public records or ethics, it's not like throwing a stone in a quiet pond. It's like throwing a boulder.
If you're going to spend seven months of your life - for me seven months, for Roland Emmerich, 3, 4, 5 years of his life - doing something, I think you have to have something to say.
