When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.

It's near impossible to make a movie in black and white in the system.

I was late to the Knicks. My dad was a big fan. But I first started watching baseball; I became a Red Sox fan. My dad was a Mets fan. I wanted to have my own team and league.

Manhattan is so tailored. It's driven by appealing to the very wealthy and tourists.

I realize how much I rely on the actors to really know the lines because I tend to forget what they are exactly, even though I've written them. I don't have them memorized. But when it's going well, there is that point where the actor starts to know more about the character than I do.

I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.

I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.