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

If TV seems improved, I think it's been enhanced by violence and sex permissible on cable, as well as better cinematography, but in the end it's really only soap operas like your grandmother's afternoon "stories" and that's all it wants to be or has to be.

I can work in London. A British journalist asked me if I had any trouble working with an English crew, as an American, and I said I might have if I was from Scotland, but I'm from Massachusetts, which is sort of Oxfordshire, but more intellectual. That's kind of unforgivable but you've got to let them have it.

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

I sound like Warhol but only because I'm tired.

There were days when you would get the TV listings from The Globe and The Herald. Video was out, but nobody could afford it...expect for my uncle George, who was a second father to me, and had every film in the world, and every book.

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