The thing about The Departed, the x-factor that people can't quite put their finger on, is that it deals clearly with class and accent all these things that are fundamental to Boston, but previously anomalous or even prohibited in demotic American films.

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.

Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.

I learned my job from English dramatists. Tennessee Williams was no good for me, New York stuff was no good to me.

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

I don't think the latest Star Wars pictures have any artistic intentions, but the original picture opened up epic science fiction.

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