In movies you get to do that. Sometimes with the vigilante justice movie he has to also tangle with police, which are traditional or security people. Is there going to be any of that in this?

If you see someone lying out knives and forks consistently, but then one day those knives and forks become weapons you're not sure if he does that as a warrior, that's just his thing.

I like being in real environments. I love being in the place that it's about - these sets and locations are characters in the movies. Can you imagine Breakfast at Tiffany's shot somewhere else? It's classic. Characters are part of storytelling; they're just as important as everything else.

I became a director just for the love of movies, because of the power of cinema.

There are many stories of people didn't set out to make a film that became a classic - the whole process was a disaster, everybody hated each other, the movie itself was a disaster, everybody thought the movie and the script was going to be a piece of crap. Look at Alfred Hitchcock and Psycho. Nobody wanted to make Psycho; it was crap to them. The only person that wanted to make Psycho was Hitchcock. Now, it's considered a classic and a work of art.

It's a hard line to walk, man. Cause you know you want to make this movie, you want to make it dark and real, you want to show all this stuff but unfortunately you can't always do that.

Tupac Shakur is something that, of course I want to make the Tupac movie, I love Tupac, but when that movie was announced, we didn't even have a script yet. It was just being written. People announce things too soon. If you go to any filmmaker - Clint Eastwood, Oliver Stone, Martin Scorsese, Ben Affleck, Michael Mann - you go in their offices and there are scripts everywhere and there's about four or five of them you really want to make.