You're dumber than you think I think you are.
But time has caught up with it and I think vindicated it. Shampoo, too: very dark, very ambitious movie.
One of the reasons for going back into the past is that it's almost the only place that there's any drama.
Of course I'm respectable. I'm old. Politicians, ugly buildings, and whores all get respectable if they last long enough.
Finally, Colin Farrell showed up on my doorstep, only he wasn't Colin Farrell - he was just this Irish kid who had read the script and wanted to do it.
And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.
I'm excited and encouraged to see people getting involved with their public lands and forests. We really need the public's help to repair these heavily used recreation sites.
It made me alive to the fact that the most important thing sometimes is what isn't said - to prepare for moments of revelation that can be read entirely on actors' faces without dialogue.
It was not possible to film in California, because all the areas are heavily built up now. Coming to Cape Town is an invitation to step into the past and recreate Los Angeles of the 1930s.
If you have a good ear for dialogue, you just can't help thinking about the way people talk. You're drawn to it. And the obsessive interest in it forces you to develop it. You almost can't help yourself.