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.

Casting is always subject to availabilities.

I cut London Boulevard pretty aggressively, but I liked the transitions and the elliptical feel that I got. It's not an exceptionally easy film to follow. You have to know that the paparazzo looks like Mark David Chapman. He hasn't got an expositional sign on him.

For me, film has been good because I'm able to work at top crack, working at something I love to do, in the only literary form in which you can still make money. There are no famous novelists, not as novelists used to be famous.

I have no reason as a director to have films go up in versions that I don't like. My only experience of film after ten years is honestly that if a picture doesn't get second-guessed you're looking at four Oscars, and if a picture does get second-guessed, you're not. I've got an advanced degree in that lesson.

Look at what people are trying to conceal, and you’ll see that they’re revealing everything.

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