Let Me Tell You, There's No Better

Actually, Screenplays Were Much More Detailed Than What I Did In The Book In The Book I Had To Invent A Style For Communicating What The Sensation Of Looking At A Film Would Be, Whereas The Screenplays I Wrote In Paris Were Actual Blueprints For How To Do The Film, With Every Gesture, Every Little Movement Noted In Exhaustive Detail.

When I Write, The Story Is Always Uppermost In My Mind, And I Feel That Everything Must Be Sacrificed To It. All Elegant Passages, All The Curious Details, All The So-called Beautiful Writing - If They Are Not Truly Relevant To What I Am Trying To Say, Then They Have To Go.

History Is Present In All My Novels. And Whether I Am Directly Talking About The Sociological Moment Or Just Immersing My Character In The Environment, I Am Very Aware Of It.

I Don't Think Of Myself As A Metafictional Writer At All. I Think Of Myself As A Classic Writer, A Realist Writer, Who Tends To Have Flights Of Fancy At Times, But Nevertheless, My Feet Are Mostly On The Ground.

Movies Are Not Novels, And That's Why, When Filmmakers Try To Adapt Novels, Particularly Long Or Complex Novels, The Result Is Almost Always Failure. It Can't Be Done.