“I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.”
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You don't go to the movies to do historical research, unless it's historical research about the movies.
Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history if the answer is no, not precisely this way, then it's historical drama.
You have a strange relationship with calamity when you're a writer: you write about it as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.
Who knows better than artists how much ugliness there is on the way to beauty, how many ghastly, mortifying missteps, how many days of granitic blockheadedness and dismaying ineptitude there is on the way to accomplishment, how partial all accomplishment is, how incomplete?
