Here are some words of wisdom that come from the documentary or the outtakes of DREAMS ON SPEC:

STEVEN DE SOUZA 48 HOURS: Well, Jack Warner may have been celebrated for calling writers Schmucks with Underwoods, but 20 years earlier Irving Thalberg said, "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing it."

JAMES L. BROOKS TERMS OF ENDEARMENT: [Screenwriting] is no more complicated than old French torture chambers, I think. It's about as simple as that.

NORA EPHRON SLEEPLESS IN SEATTLE: Come see my closet. Oh, it's horrible. It's horrible. Three or tour of the best things I've ever done are just sitting there on the shelf.

DENNIS PALUMBO MY FAVORITE YEAR: As Peter Stone, the screenwriter said one time, he was sitting in an office with the studio head, the director, and the star, and the producer. And of the five people in the room, he was the only one without script approval.

PAUL GUAY THE LITTLE RASCALS: For the first time, I heard actors saying my lines and my partner's lines, and it was it was extremely thrilling because the kids, most of them were too young to change them, so they were actually reading them as written, which was nice, and it hasn't happened a lot since then. Although I have to mention that one of the kids, who was ten, came up to us when we were doing rewrites and said, "You know, can you write some more stuff for me?" And I thought, "This is good training for the Jim Carreys of the world."

CARRIE FISHER SCRIPT DOCTOR EXTRAORDINAIRE: It was Spielberg that asked me to rewrite Hook just to rewrite Tinkerbelle. But that makes no sense because you can't just write one character. There is another character that they speak to. Although, uh, you know, it was Robin [William]'s character mostly, so I would improvise with Robin Williams. Well, he and I do that anyway. So now you have two people that desperately need medication, but it's fine if they're off and you're taking notes. And we had a very good time.

GARY ROSS -- SEABISCUIT: Success is sort of an elusive word. Were you satisfied? Do other people see the movie and are they satisfied? Does it evoke something strong and powerful? Not everybody and this is not about concensus. This is about were you able to communicate something specifically to somebody and move them?

NORA EPHRON WHEN HARRY MET SALLY: It's a very male business, and it has in vast portions of it, the whole action movie part of it might as well be the United States Army in 1943, uh, in that the ethics of it are are, you know, boot camp and, uh, action movies and guns and explosions and all the rest of it, and that so that means that that about 50% of the business is not only pretty much closed off to women, but women don't even wanna be in it.

STEVEN DE SOUZA DIE HARD: I got a phone call, quite recently, uh, from somebody said, you know, "I saw that picture you did with Christopher Plummer and Timothy Dalton. It's a good little movie. I now I think instead of a little drama, I know you're trying to show you've got acting chops, I want you to go back to what made you a big, giant action movie, and I have one, you say the word, you rewrite the script, you're the director. Got a $50 million budget. It's right up your alley." I'll say, "What is it?" It's not Die Hard on a boat. It's not Die Hard in a shopping mall. It's a fresh idea. It's Die Hard, but in a building. We'd come full circle.

JAMES L. BROOKS AS GOOD AS IT GETS: I never knew anybody who ever got a Writers Guild card who didn't have a hard time when somebody said, "What do you do for a living?" saying, "I'm a writer." Your your voice always catches on "a writer." I think it takes about 14 years to not have the catch in your voice if you're very aggressive. It takes longer if you're not. Uh, because it you know, so many of us have dreamt about it forever as a dream that could not be realized.

GARY ROSS BIG: I think that it's easy to give it away give the definition of success away. Empower other people in determining whether you have talent. The catch 22 is that the more you do that the less you'll be able to write. That's the hard part writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you'll have less to say and then it'll go away.