WHAT ARE THE MAIN THINGS YOU LOOK FOR WHEN YOU READ A SCRIPT?
1) Simplicity. Most of the best films ever written have been the simplest in terms of their story. Writers tend to think, the more adventure, the more characters, the more action I put into my film, the better it'll be. The opposite is true.

2) Proper form and structure. Get a format book and memorize the way script language is written. This cannot be stressed enough. If you break a reader out of your story because you have confused them with the simple words on the page -- you have lost the reader.

3) Something we haven't seen before. While its true that everything has been done before, it's not true. Something original is out there. This is what all movie fans want to see when they step into the theater.

WHAT MAKES BELIEVABLE CHARACTERS?
Flawed characters. But, ahh, there is 'the rub'. How do make a character flawed without making him or her unlikable? If you can master that art form, bottle it and don't tell anyone.

WHAT’S THE MOST COMMON MISTAKE YOU SEE?
Not defining your movie in the first screen moment. In the movie TREMORS, the first time we meet Kevin Bacon's cowboy character he screams "Stampede!" and scares Fred Ward from his sleep. At the end of the movie, how does Kevin Bacon kill the giant mutant earthworms that have been hunting them? By driving them off a cliff (just like what happens to cattle in a STAMPEDE). What seemed like a throw away line is actually how the movie finishes. Everything came full circle at the end.

WHAT KIND OF SCRIPTS ARE YOU MORE LIKELY TO CONSIDER?
Scripts that adhere to the principles of proper screenwriting form and structure. Stories that have a definitive arc to the main character and a smart antagonist. But most of all, good writing. And as vague as that may sound, it's the truth. You can't explain it but you know it when you read it.

WHAT’S THE BEST SCRIPT YOU’VE EVER READ?
HIGHLANDER. That script moves so fast and you see it so clearly in your head, by the time you come up for air, you're halfway through act two and you can't get enough. The first ALIEN script by Dan O'Bannon is also astounding in its brevity. Every screenwriter should have a copy of SUNSET BOULEVARD or DOUBLE INDEMNITY. The dialogue is so rich; you can hear the words in your ears as you read.

WHAT’S YOUR FAVORITE MOVIEGOING EXPERIENCE?
Friday afternoon matinee, stadium seating, medium popcorn with butter and junior mints.