Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.

One of the things is that the good intentions of Prohibition, from reading over the years and from becoming obsessed with the research of gangs in New York City, seems to have allowed crime figures at the time, like Luciano, Capone, Torrio and Rothstein, to organize to become more powerful, which pulled all the way through until the '70s.

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

I have a desire to tell stories. And I'm never quite satisfied.

Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.

The storyboard for me is the way to visualise the entire movie in advance.

There are times when you have to face your enemies, sit down and deal with it.