I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition.

Casting is always subject to availabilities.

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.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

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

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.

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.