Well, I mean, the original is certainly the jump-off, it certainly is what it is, you know, I grew up around that era so I watched all those shows. The basic concept is there, it's just a different movie. Totally different actors, different filmmakers, different script, but same concept.

I like making movies.

Even the Westerns that I grew up with, the Sergio Leone's and all that, there was always a sort of anti-hero, a guy reluctant to shame even, to pick up the gun again because he wants to help other people, and he does, he uses his skills for that.

I don't think the audience goes and thinks of the movie as a piece of art - there are some independent people who may go and have a higher appreciation for filmmaking. It is a great art form, but I don't think you look at a painting and a movie with the same eye.

How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.

You could call it that [urban Western], I guess, you could certainly call it that. A lot of these types of films are, really, if you get down to the core most suspense thrillers in this genre, the Western is sort of the birth of it all.

I just think you can't shut your life off to just, you know, one thing. You gotta be open-minded. Explore things. Feed your artist.