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.

That's absolutely true, but one problem with the digital revolution, which may tie into what I said earlier, is that there can be a collapse of quality. You may not have liked the decisions made by publishers in the past, you may not have liked the decisions made by magazine editors or newspaper editors in the past. At least there was some quality control

I think the only real referent for anybody writing drama is probably Hamlet. You have the most extreme tragic drama, this sort of blood-boltered thing, but it's also very funny, which is simply a matter of the playwright being alive and observant and entertaining, and understanding not only the world but what will play.

There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.

Getting the correct writer is simply like casting. You wouldn't hire an actor in order to tell him how to work. He knows how to work, which is why you hired him.

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.

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.