Miami is one of these great places that is a really sensual, physically beautiful place.
Dillinger at one point was the second most popular man in America after President Roosevelt. And he was a national hero for a good reason. He was robbing the very institutions, the banks, which had afflicted the people for four years, and after four years nothing was getting any better.
We take safety very, very seriously on every film I make, and that's why I've never had a serious accident or anybody killed when I make a picture.
I realized horses have personality when I bought one and I had one, who's now out to pasture, a horse named Drifter. Before that, I was a city boy. Horses, I used to go out to the LaBagh Woods and ride at a stable once every two years or something; no idea about horses. Dogs, I knew, had personalities, but not horses.
I think it's easy for directors to stay fresh more than actors, especially once an actor becomes a star. It's hard for Russell Crowe to walk down a street or take a subway. I can fly coach.
As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film.
Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode.
There's people who live life authentically and there's people who live a life of fabrication. And it begins with the question of how you're gonna do your time. And these are observations I made about Folsom when I was there with Dustin Hoffman when he was directing 'Straight Time.'
Digital makes things feel more real, like you could reach out and touch them.
Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot.
The best-kept secret about Don Johnson is the fact that he is a terrific actor.
What I try to do - I mean 'try,' because you don't get there all the time - is to have impact with content. It's those moments in which you're trying to bring people beyond filmed theater. If I have an ambition, it's that.
Personally, I find looking at all of the supporting materials and bring it all back to me - the people I worked with, the experience of working on a project - makes it come alive again. So, I try to put those experiences into my commentary for the viewers.
Horses have really distinct personalities, and they're magical in many ways.
A 65-ft.-wide screen and 500 people reacting to the movie, there is nothing like that experience.
I see the world from the perspective of a 5'8" person, not someone who is 6'4". so naturally, I'm going to choose certain lens heights over and again... Sometimes nature makes choices for you.
'Police Story' had some of the best writing on television, and one reason for that is because most of the scripts were based on real cases.
HBO is not an advertiser-based model, it's a subscription model. So what's significant to HBO is not necessarily the debut of an episode, it's the cumulative numbers.
I've never made any film that I wouldn't go back and re-edit.
By the time I was 21, I knew what I wanted to do, and that was to direct films.
