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.

It's been very much in the blood since I started imagining films or shooting with 8mm when I was a kid. I made some films and thought about films, but then I went into writing. Becket is something that's definitely on the cards. We have to see where that fits in the schedule, because it's a big picture and I have a lot of writing obligations at the moment. I'm wary of anything with a budget over a certain amount.

In all honesty a gangster picture was the easiest kind of film for me to get made.

They're done by guys who have talked a good game and then have scrambled together the simulacrum of a drama, so actors are habituated to sometimes having to save a picture on the floor because it's usually part of their job, but they'd rather have a writer doing his job, so that they can do theirs. But I like nothing better than working with actors.

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

A criminal has a kind of freedom by definition that the ordinary citizen doesn't have. The criminal's able to realize himself in ways not available to the general population, if you want to put it that way. They're interesting and unpredictable. Characters always have to break some sort of bound or other to be interesting. It also helps if they're paradoxical.

There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.