Jose Padilha

The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.

The historical novelist has to consider what has actually happened, while the SF writer is dealing in possibilities, but they are both in the business of imagining a world unlike our own and yet connected to it.

When I have a creative insight, there is a high. I think back in the day, I made music as much as I did because it made me feel so good. I think you could argue that there is a creative addiction - but, you know, the healthy kind.

I'd worked at a small town newspaper, and I was thinking of all the strange stories that I had seen float through the newsroom in my time there that were dismissed as kind of amusing curiosities. Somehow from that I got to this idea of an eccentric alcoholic who built a lighthouse in the woods.