I think that gambling is a synthetic experience and that if you have any balls you gamble with your life. I have. So can everybody else.

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.

Get Carter is a classic, but it did nothing in the United States. It came out on a double bill with a Frank Sinatra western.

I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.

I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.

I don't think you need $35 million bucks to make a movie. I think what people should do is make a lot more movies for a lot less money. You can really do it.

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