I consider my job as a screenwriter to pack a script with possibilities and ideas - to create a feast for the filmmaker to pick from.
Every adaptation requires that the screenwriter make difficult choices - and in particular, difficult cuts.
I like to write, and I would love to be a screenwriter one day and a director.
As a screenwriter, there's so many layers you have to go through in order to tell your story. You have to write the script, get money for the script, shoot it, find distributors, make it into film festivals, all of that just to get to your audience.
Normally with film, it's normal for the screenwriter to never be seen again after finishing until the premiere.
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.
If you want to be a screenwriter, take an acting class to get a sense of what you're asking actors to do. Learning other skills will help you communicate with people and respect what they do.
But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.
When you're a screenwriter working on a film, you're not really even welcome on set, even if you know... When I wrote 'Elizabeth' and Shekhar Kapur was a friend of mine, but I wasn't really welcome on set, because the director is God and it's a very difficult position for a screenwriter who's put so much passion into that, into the writing.
And I didn't grow up wanting to be a director. I grew up wanting to be a writer, so for me, that was always the goal - to be a novelist, not a screenwriter. And I think, again, if I didn't have the novels, maybe I'd be much more frustrated by not having directed yet.