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.

I've got things I have to do in fiction to sort of register my existence, before I kick the bucket, but it will never be my living and I know it. Plus it never moved fast enough for me and lacked cut and thrust. I need to be in the real show.

Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.

I had a long writing history behind me before I got into anything in film. It comprehended science fiction, it comprehended historical, it comprehended, you know, just about everything that you can think of.

If you decide to do Hamlet in a funny hat staged in a ruined factory, it doesn't make you Shakespeare.

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

I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.