Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.

A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.

If you cast the picture correctly, you have a whole lot of leeway. You can make mistakes in other aspects but pull it off with the right actors.

I think I've made some pretty decent films in the '80s and '90s.

The whole thing of this business is to retain your enthusiasm and, in a sense, retain your innocence and try to practice as much humility as possible.

But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.

One of the first lessons you learn as an actor is to listen.