We meet, I write a script. He reads it, we meet again. I polish the script, I hand it in. I disappear. That’s what the working relationship is [with Martin Scorsese]. After I hand it in, I’m gone. I don’t call, I don’t ask; he makes the movie. I’ve done my job. If the script is really good, it will inspire him to be better, and that’s the best I can do.
I always feel that the presence of the writer on the set is one of the sheer indicators that something has gone awry, because by the time a movie begins shooting, the actor should understand the character as well as the writer, and the director should understand the structure and the style as well, or better, than the writer. And if they still need the writer at that point, then they probably started shooting too quickly.