I tried for about two semesters in a preparatory seminary. But I was about 15 and didn't fully understand what a vocation means.

Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet. In one sense, it's about protecting yourself; in another sense, it's about always being open to surprise, even from the set, because there may be some detail that you hadn't noticed. I think this is crucial. There are many pictures that seem good in so many ways except one: They lack a sense of surprise, they've never left the page.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

A lot of what I'm obsessed with is the relationship and the dynamics between people and the family, particularly brothers and their father.

My working-class Italian-American parents didn't go to school, there were no books in the house.

I accept all awards. I like them.

The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.