I'm usually the first guy to propose a change because I'm continuing my process. We're in a context, in this business, a context in which most screenplays work on a very modest level of achievement, in that a lot of them aren't really written by what you would call writers.

T.S. Eliot, who learned to swim at the same beach as I did, just threw in the towel and moved to Cheyne Walk. I'm not going to do that but I'm not scared of the open channel between me and Britain.

Casting is always subject to availabilities.

I don't think Roger Ebert has ever mentioned a screenplay. He assigns every auctorial move to the director, which makes some sense since the director has run a one-off game, but if Hamlet were written last year and had been only performed once as a film, and it didn't come off well on screen for whatever reason, it would be gone forever as a literary work, and never would have been considered as one.

Casting is all about availability, as much as anything else.

The only answer to "Are you Beatles or Stones?" is, "I'm both."

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.