You can listen to the episode or read the full transcript, but what really jumped out as a highlight was Simon's addressing whether or not he'd work in film. something he's yet to do. Simon admits he's "had a few bites of the apple and I've written some things," but that he doesn't think he should direct.
See, I know what I'm not good at. I see shot comps -- I would do a very pedestrian job of directing. I understand how to turn the camera around. I understand what you need to leave with in order to have coverage. But the really creative and elegant directors I've worked with, they have a skill set that I don't have.
I understand when I'm watching a performance that isn't working because it's not getting the intention of the scene or because I don't believe in something; either the background or the actor. If something is not working, I know it's not working. But how to solve the problem sometimes, I can be diagnostic, I can't be prescriptive when it comes to a camera.
The first time I showed up, like one minute I was a rewrite man and crime reporter for The Baltimore Sun and the next moment I was working for the show "Homicide" and my paychecks were coming from NBC.
And I go to set for the first day and I'm looking around and I don't even know what stupid question to ask. And it was like three weeks into going to set and seeing them do it that at some point I said what's Boots over there; the guy's name was Boots. I said, "What's he doing turning that knob next to the camera?" And Henry Bromell actually, I remember turned to me and said, "He's focusing the camera." And I looked at him like, I said, "You mean the guy who focuses the camera isn't the guy looking through the camera? How does that work?" That can't possibly work.
So respect the depths, and I do, which is to say I kind of want to have the story turn out -- I don't want to put my name on something where the story, you went in with a script you believed in and you came out with drek. At the same time, I don't want to relinquish control, but I have to acknowledge features are very different from TV.
Baldwin suggests a solution: "Tell your son to go to film school. Then the director is your son and he wouldn't dare touch your script."