Every scene is a lesson. Every shot is a school. Let the learning continue.

I always say that I've been in a bad mood for maybe 35 years now. I try to lighten it up, but that's what comes out when you get me on camera.

All I can do is try to do the best work I can. I need to work, I like to work... although I complain about it, but I do like it - and I just need to make the best film I can.

Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, 'My name is on that. I did that. It's OK.' But don't get me wrong, I still get excited by it all. That, I hope, will never disappear.

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.

I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?

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.