I really don't know where the independent fits in anymore when twenty-five million dollar movies are considered straight-to-video fare. We're like penny postage stamps.

I'm used to doing a lot of dolly tracks.

I really don't know where the independent fits in anymore when twenty-five million dollar movies are considered straight-to-video fare. We're like penny postage stamps.

Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on." You get one or two takes. So it's a tough job.

I wouldn't want to put myself up for something that I didn't think I could do a good job on. I wouldn't to direct material I didn't feel I could serve, but I don't have anything against doing bigger pictures.

A lot of people live with no apparent means of support. I kind of envy the musicians up there. You're down here, busting your ass in Hollywood, and it's like Lily Tomlin's joke about the rat race - all you prove in the end is that you're a rat.

There's something with actors in their 40s, I don't know - there's this tendency with these guys, either they're not where they wanted to be, or - I mean, this guy was making good money and working a lot. It's almost like they have a bad conscience about the job, like it's unmanly or something, so they try to compensate by busting the director's balls 24/7.