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.

I think probably everybody works most on the beginning and the ending.

A criminal has a kind of freedom by definition that the ordinary citizen doesn't have. The criminal's able to realize himself in ways not available to the general population, if you want to put it that way. They're interesting and unpredictable. Characters always have to break some sort of bound or other to be interesting. It also helps if they're paradoxical.

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.

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 wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.

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