I've always considered myself an actor first and foremost.

Big Night and The Impostors are both things that I wrote.

It's different if you're a painter. You can hidethe ones that don't work. You can't do that with movies. They tellthe story of who you are at the time, and that's the wonderful thingabout it.

I'm pretty much a character-driven film director and my movies are smaller. I don't do a lot of coverage. I use lots of master shots.

This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.

The action stuff takes a long time but when you're there and you're doing it and you go into that take and you run and everything is blowing up around you and you're diving onto something it's actually incredibly thrilling and you feel like a kid again. Like a kid, who used to play and pretend all those things would happen and now they're actually happening.

Even The Impostors, as silly as it is, is a very intimate film, in a way.