I had wanted to be a screenwriter since 1962, when I walked out of the Tower Theater in Corpus Christi, Texas as a very different 14-year-old boy than when I had walked in. The movie was Lawrence of Arabia, and watching it was like being sucked into a wormhole and delivered to an alternate universe. The unworldly disorientation I experienced was due in large part to David Lean’s direction, to his unprecedented sense of scale and pace and purpose, and to the Maurice Jarre score, which half a century later was still so haunting to me that I sometimes use it as the ringtone on my cellphone. But Lawrence of Arabia had another dimension, one that I had never really noticed before. For the first time, I was aware that movies were written, not just somehow fortuitously assembled. It was obvious that the dialogue—“The trick, William Potter, is not minding that it hurts” or “What attracts you personally to the desert?” “It’s clean.”—had to have been set down somewhere in cold print, not just thought up on the fly. And it was more than the dialogue itself that made me take notice of the name Robert Bolt; it was the wordless action as well, the way the scenes steadily built and drew upon each other to produce such a satisfying impression of momentum and coherence.