When you work with a DeNiro or Hoffman, they love what they do so much that there's never any competitive vibe. It's more about how do we do this thing together.
People that went to art house theatre have more options, I used to go, but now think any movie can be delivered in a red envelope three months after it's released so why not watch it on my flat screen in the comfort of home.
I mean the cool thing about the movies is that you get to try on these different personalities and different styles.
You know, I've certainly gone through periods, once I got into this business, where I tried to adopt maybe a more sophisticated style, 'cause they give you all these free clothes.
It's so hard to raise money for independent films and the fact of the matter is that the bigger my star or whatever is, as a result of doing bigger pictures, the easier it is for me to get money for my own projects.
I spent four months in Prague in these blue rooms reacting to nothing and you basically place your faith in the hands of the director and the special effects co-coordinator and you keep your fingers crossed and hope that the creatures look really scary.
When I was 25 years old and had no money - and didn't know how to make movies and had no experience - I was able to get $25,000 together, and that film was 'The Brothers McMullen.'
I feel Irish-Americans are the forgotten minority group. Nobody else is making films about them.
Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.
Look: You're not gonna become a millionaire doing this, but that was never the point. And I think a lot of people in the indie film business kind of took their eye off of that.
The con movie is a little bit different where maybe we tell you what we're going to do but it never goes down the way you expect because there's so much double-crossing and cheats and lies going on along the whole way.