They sought out rap music to attack, but you don't hear that anymore because it made too much money. They use Che Guevara to sell soft drinks. If something comes out that is radical and it's successful, then it's no longer radical. It's co-opted.

I'm very lucky to have worked in the '70s. It's a different industry and distribution is in a state of flux. It's all different platforms, they're doing this video-on-demand thing and also playing the film theatrically. It's funny to me: In the States it's an arthouse movie.

I am very direct and I tend to treat everyone exactly the same, which sometimes gets me in trouble because some movie stars feel like they should be treated differently. But, when you're dealing with good actors, they really appreciate it.

It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'

The field (of filmmaking) is suddenly sexy, ... so it's deluged with these wannabes who say 'I don't want to be a secret agent, I'll be a filmmaker.' I think a lot of people are really kind of naive.

They sought out rap music to attack, but you don't hear that anymore because it made too much money. They use Che Guevara to sell soft drinks. If something comes out that is radical and it's successful, then it's no longer radical. It's co-opted.

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