Scott Frank

I went, of course, of course, I'm going to put him in a van with that guy. But I'm going to do a different version of him. I'm going to do, you know, the Muslim version of him.

I went, of course, of course, I'm going to put him in a van with that guy. But I'm going to do a different version of him. I'm going to do, you know, the Muslim version of him.

I went, of course, of course, I'm going to put him in a van with that guy. But I'm going to do a different version of him. I'm going to do, you know, the Muslim version of him.

Maybe he won't break out.

Maybe he won't break out.

Maybe he won't break out.

And you wrote that in. Yeah, that's all in there. That's all in there. But when that happened, then I realized, okay, we're done. We're done now. Now we got it. Yeah, it was great. And then how do you go? And then you go to Minority Report? The hardest thing I ever worked on. It's a hard movie. A really hard movie. A really hard movie. And it...

And you wrote that in. Yeah, that's all in there. That's all in there. But when that happened, then I realized, okay, we're done. We're done now. Now we got it. Yeah, it was great. And then how do you go? And then you go to Minority Report? The hardest thing I ever worked on. It's a hard movie. A really hard movie. A really hard movie. And it...

And you wrote that in. Yeah, that's all in there. That's all in there. But when that happened, then I realized, okay, we're done. We're done now. Now we got it. Yeah, it was great. And then how do you go? And then you go to Minority Report? The hardest thing I ever worked on. It's a hard movie. A really hard movie. A really hard movie. And it...

We spent a long time, originally that was going to be a job where I was going to work for a few weeks and on the script. And he, Steven Spielberg, was just wanted to work on, had a few things on the list he wanted to do with the script. And it was a very different movie. And it's a short story that's all of 11 or 12 pages, I think. It's a very short, short story. Who did it? Not J.G.Boward.

We spent a long time, originally that was going to be a job where I was going to work for a few weeks and on the script. And he, Steven Spielberg, was just wanted to work on, had a few things on the list he wanted to do with the script. And it was a very different movie. And it's a short story that's all of 11 or 12 pages, I think. It's a very short, short story. Who did it? Not J.G.Boward.

We spent a long time, originally that was going to be a job where I was going to work for a few weeks and on the script. And he, Steven Spielberg, was just wanted to work on, had a few things on the list he wanted to do with the script. And it was a very different movie. And it's a short story that's all of 11 or 12 pages, I think. It's a very short, short story. Who did it? Not J.G.Boward.

Who was it? Philip K. Dick. Oh yeah, Philip K. Dick. And also, he was an interesting guy as a writer. He seemed kind of to me almost fascist in some of the ways he thought about politics in his books, but also was really into drugs and experiment and things like that. I find him endlessly fascinating. But the book, rather the short story ended with him sort of trying to support Ja. Ja.

Who was it? Philip K. Dick. Oh yeah, Philip K. Dick. And also, he was an interesting guy as a writer. He seemed kind of to me almost fascist in some of the ways he thought about politics in his books, but also was really into drugs and experiment and things like that. I find him endlessly fascinating. But the book, rather the short story ended with him sort of trying to support Ja. Ja.

Who was it? Philip K. Dick. Oh yeah, Philip K. Dick. And also, he was an interesting guy as a writer. He seemed kind of to me almost fascist in some of the ways he thought about politics in his books, but also was really into drugs and experiment and things like that. I find him endlessly fascinating. But the book, rather the short story ended with him sort of trying to support Ja. Ja.

Und so sahen ihre Häuser aus wie die Autos, alles fühlte sich aus wie die 1950er. Es war ein sehr anderer Ton. Es gab wirklich kein Mysterium in ihm. Es war sehr anders. Aber es war dieser Mann, John Cohen, ein sehr guter Schreiter, der mit ihm einen wirklich interessanten Job gemacht hat. Aber es war nicht... Es hat nicht wirklich funktioniert. Wir haben also angefangen, daran zu arbeiten.

Und so sahen ihre Häuser aus wie die Autos, alles fühlte sich aus wie die 1950er. Es war ein sehr anderer Ton. Es gab wirklich kein Mysterium in ihm. Es war sehr anders. Aber es war dieser Mann, John Cohen, ein sehr guter Schreiter, der mit ihm einen wirklich interessanten Job gemacht hat. Aber es war nicht... Es hat nicht wirklich funktioniert. Wir haben also angefangen, daran zu arbeiten.

Und so sahen ihre Häuser aus wie die Autos, alles fühlte sich aus wie die 1950er. Es war ein sehr anderer Ton. Es gab wirklich kein Mysterium in ihm. Es war sehr anders. Aber es war dieser Mann, John Cohen, ein sehr guter Schreiter, der mit ihm einen wirklich interessanten Job gemacht hat. Aber es war nicht... Es hat nicht wirklich funktioniert. Wir haben also angefangen, daran zu arbeiten.

Und dann ist Tom Cruise mit Mission Impossible 2 in Australien gefilmt. Seine Zeitung wurde geschlossen, um das Skript wiederzuarbeiten. Und jetzt haben wir unendlich viel Zeit vor uns. Und Steven hat gesagt, wir schauen uns das mal an. Und du hast mit ihm vorher gearbeitet, Spielberg? Ja, ich habe mit ihm vorher einen Rewrite gemacht. Of Saving Private Ryan?

Und dann ist Tom Cruise mit Mission Impossible 2 in Australien gefilmt. Seine Zeitung wurde geschlossen, um das Skript wiederzuarbeiten. Und jetzt haben wir unendlich viel Zeit vor uns. Und Steven hat gesagt, wir schauen uns das mal an. Und du hast mit ihm vorher gearbeitet, Spielberg? Ja, ich habe mit ihm vorher einen Rewrite gemacht. Of Saving Private Ryan?