The trick is the paradox – turning your story inside out. Now if it is something that appears to be of total normality and then suddenly turns inside out and is a different thing all together then that’s fun to write.
You get to Hollywood and you are in the land of big money where they don’t like to see only one screenwriter’s name. It’s much better if you’ve got four or five.
You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it’s going to be about something and it does the opposite.
All stories should have some honesty and truth in them, otherwise you’re just playing about.
Big Brother sounded like a silly stunt and that’s what it is.
I don’t judge other people’s work and I don’t see enough of it either.
I made a rule for myself that the only television things I would do would be my own stories.
I never really saw myself as writing science fiction anyway.
I reckon I closed down at least two films companies, one of which was in Ealing in the mid 1950s.
I wanted to write a story that demanded the viewer’s attention.