I think people tend to live, whether they like it or not, influenced by what’s next door to them.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It’s so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

I had been to New Mexico many times. I loved it. It’s a very exotic, interesting, severely crazy environment. I don’t know if I could live there all year. It’s such an intense place.

I know it’s good when I see a smaller film get recognized because it means more publicity for them. When you start producing and directing the movies become a little more like your children.

I tend to turn down roles that are too much like me, what I think is most like me anyhow, because I’m me all the time and I’m sick of it.

I only made two studio movies, that was a long time ago and obviously I removed myself. I think some of that is geographical. I live in New York and I want to work there, it’s as simple as that.

In the editing room, 20 percent of the time you’re using stuff from before the actor knew the camera was rolling or you’re taking a line from somewhere else and putting it in his mouth.

Directing is: you’re overwhelmed the whole time. Your mind never stops. If you care about it. You wake up in the morning and you begin thinking about it and then you go to sleep at night and you’re still thinking about it.

I’m known as a kind of dramatic, serious, almost humorless actor and the fact is, I’m a funny guy, and I spend most of my life trying to find a lighter side of things, and on stage was given plenty of opportunity to do that.

Am I now going to move on to a 60 million dollar film? I wouldn't know what to do with a 60 million dollar film. It scares me.