I have consciously not taken the role of a gangster, which has been offered to me far too many times.
The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.
I was dissatisfied just being an actor.
Big Night and The Impostors are both things that I wrote.
Like Joseph Mitchell, I would scour the streets of New York and find little pieces of what other people think of as junk - and collect it.
I mean, Scorsese's a genius, and that's one way of shooting.
I wanted to be an actor when I was a kid.
As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.
As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.
I'm actually one who will encourage directors to cut my lines.
I love directing - it's always so involving, so challenging.
I'd read Up in the Old Hotel, and I wanted to do something with Mitchell's stuff for a long time.
People wear shorts to the Broadway theater. There should be a law against that.
And I love doing my own projects; that's what I've always wanted to do.
I like to use all of myself, and acting wasn't doing that.
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