The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.

I don't like to move the camera that much anyway.

I'd read Up in the Old Hotel, and I wanted to do something with Mitchell's stuff for a long time.

I think everybody has a little bit of an asshole inside of them.

People wear shorts to the Broadway theater. There should be a law against that.

I love directing - it's always so involving, so challenging.

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