When I read a script for the first time, I have to have something instinctive happen where I feel like that character is there somewhere. I have to hear a person, I have to feel them inside me in a way.

A good script is a good script. I want three-dimensional, truthful characters that the audience will care about and a script that has something to say. Even if the script is just for pure entertainment and escapism it can have something to say. I look now for roles that are different from what I have done before. I want to challenge myself and people’s perceptions of me. If we challenge ourselves, we grow.

It is a bit of a shock to discover that there are things that a writer can bring to a script that you recognize as a shadow of your own experience. You don’t necessarily actively draw on some specific thing that happened to you—but it’s in the bank, and you want to spend it.

I read the script, and I think, 'That's a good movie, and that's a really good movie, moves me, makes me laugh, this and that.' I don't worry about the part. Then I'm looking who's around me? Who's the director? Who's the cast? And I would much rather have a little part in a good movie than a big part in a crappy movie.

When I get a script, apart from what my director is planning to draw for me, I go to the drawing board, I imagine a lot of things. I dig up experiences which might not be my own. Things I have heard and I create the character.

Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters.

There’s a problem when you write for Hollywood in particular, they only read the dialogue. They call it reading down the middle. They have 10 scripts to read over the weekend, so all the bits that are in block prose, they won’t look at. But that’s the important stuff in the cinema. A cinematic script… they always say that you can watch a good film with the sound down.

Any screenwriter will tell you that as satisfying and wonderful a career as that is, outside of the people you work with, nobody actually reads what you write. Your writing goes through a process, touched by multiple dozens of people, until it becomes a finished piece of film. As an example on a very simple level, you may write a line of dialog that you absolutely love, but an actor had to speak that line, and music might be there to underscore the line, and the line might be read in a situation where a dozen other things are happening simultaneously. It's all good and the way it is supposed to work, but the overall experience becomes about so much more than the line itself. Writing a book is much more pure than that, and I wanted to experience it.

Most scripts are bad. I read a lot of them. Brick was a good script just to read. It was like, “Oh my God, these words feel so good in my mouth.” A lot of movies try to set up a world with cool sets, costumes, camera work. In Brick, the world is born from the words.

You get a script and you love it. You find a director that you trust, and it becomes all about how do I commit to this as fully as possible? And the last thing you can afford to have in your mind is what are other people going to think of this?

I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was meant to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement, not a movie but a cutting-room experience.

From every film you learn something new, but from my experience you never know what film is going to open what doors, and it always happens when you least expect it.

If a script ‘beeps’ to me, I do it...Audiences may hate these plays, but I believe in them. The only way I can explain my ‘beeps’ is that I’m no intellectual, but my instincts tell me automatically when a playwright has something.

I've adhered to the story in the screenplay pretty closely but the one thing I've insisted upon is that we should experience it all through the eyes of a newcomer. The accidental upshot of that is that a reader of the new comic doesn’t even need to have seen the movie (although of course they should!), since our protagonist is encountering this world and its history for the first time, too.