New York means so much to people. If you're inclined to leave the nest, New York is where most people think they have to go, and it's been that way since the first skyscraper.
I think we were the first picture to cut on Final Cut Pro. So we were the guinea pigs, because we got a deal on the system. But with that comes all sorts of technological problems I couldn't begin to describe.
On every movie I've done as a director, I look at the producers and having done it, I don't envy them, at all.
But I remember feeling as a producer I felt like the guy who called the caterer and got the band; I had to work the party while everybody else was having a good time.
It struck me that working digitally with a small crew, I could lay out a general plan for Famous and hope for mistakes which would create something more than satire and something less than truthful reality.
I'm being told it saves money to shoot in Toronto, because of tax benefits, the crews are cheaper, but what I save in the bottom line, I lose in a million other ways.
Documentaries have always inspired me in narrative filmmaking.
I met Steve McQueen once. Well, met isn't really the right word.
My hunger and desperation, being an actor, an out of work actor - my memory of that is as fresh as an open wound.
Every movie is wildly different. So many of the problems are the same, but they take on different guises.
I came to New York to be an actor and I became a film producer first.
I only got to be able to act, because I gave myself a job as a producer.
I produced six movies with Amy Robinson since the very early '80s.
I'm in five guilds; that's a lot of dues to pay. So I have to keep on working.
I've always been schizophrenic; I've never been interested in limiting myself.
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