As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.

The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.

I don't like things about serial killers. There's so much serial killer information out there in documentaries constantly. A lot of it's just sort of gratuitous or it's almost like pornographic, really. There's no reason for it being shown.

As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.

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

Early in my career, people wanted to pigeonhole me as the bad guy because I'm of Italian-American descent, which they often were when I started out. You have to fight against it. One of the things that helps is the ability to do comedy.

A dream that you don't fight for can haunt you for the rest of your life.