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.

Even though a screenplay is performed only once, unlike other forms of drama, it's still a performance in itself, and unless it's a great performance, odds are that actors will not come, and a movie will never be made.

Casting is always subject to availabilities.

In Boston terms I was everyone and no one, with no social investment, no social insecurity, sort of Imitation of Christ in one hand and The Education of Henry Adams in the other, and because I was part of nothing I could observe everything without having anything personal invested in the findings.

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

In all honesty a gangster picture was the easiest kind of film for me to get made.

I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.