I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.

You can't go by what the governments say or do. It's not the governments. It's on the street where there's more hatred of Americans in Britain than in France.

I call the '70s the "golden age of television"; in the early '70s there were sensationally good shows.

I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.

I originally wanted to be F. Scott Fitzgerald, but failed.

I find it really disturbing to be watching a lot of the medium that I'm trying to work in. I prefer to be doing things that are farther away.

So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.