My gratitude to Ridley [Scott] isn't anything new. I named one of my kids after him. But he's a very important person to me.

Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.

The thing about movies is if somebody has an idea that works, it's in, and I say that as a screenwriter as well as a director.

Most films go out like skydivers who have had their chutes packed by a committee of blind schizophrenics.

You just have to know what you want and what you're doing and it leads to a kind of general well-being, which I think you sensed when you were there.

I'm usually the first guy to propose a change because I'm continuing my process. We're in a context, in this business, a context in which most screenplays work on a very modest level of achievement, in that a lot of them aren't really written by what you would call writers.

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.