I think what happened there was just the budget would be too big to build these sets because nothing really exists here in New York of that period; you have to build it all.

The most important thing is, how can I move forward towards something that I can't articulate, that is new in storytelling with moving images and sound?

The more you see, especially being young, the more you see the past, the more you can draw upon that and the more you can make the present and the future. It's how you process the past and at oftentimes in the picture, there are references to certain imagery from certain pictures, and certain novels.

I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.

I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.

Because of the movies I make, people get nervous. They think of me as difficult and angry. I am difficult and angry, but they don't expect a sense of humor. And the only thing that gets me through is a sense of humor.

I know there were many good policemen who died doing their duty. Some of the cops were even friends of ours. But a cop can go both ways.