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Hong Kong cinema is something you can't duplicate anyway.
Well the thing is that the New York of 1846 to 1862 was very different from downtown New York now. Really nothing from that period still exists in New York.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
I think what happened there was just the budget would be too big to build these sets because nothing really exists here in New York of that period; you have to build it all.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
The only thing I really wanted was the freedom to be able to get what I want on film. I’ve dealt with the MPAA since 1973, so I know how to renegotiate and rework.
My father had this mythological sense of the old New York, and he used to tell me stories about these old gangs, particularly the Forty Thieves in the Fourth Ward.
I act because I can't seem to live with myself if I do not. I don't know any other way to be. It isn't something you can explain; it is just something that you do; it is something that you are.
I think I'm known as a liberal democrat and Hispanic and a practicing Catholic, but I never really went out of my way specifically to play a president or any kind of leader.
Golf is fundamentally about being honest. I see people hit eight shots and tell me they shot five. I never say a word. It is a reminder to me of what is at stake.
When you start a new project and they say, "Your director is going to be Joe Blo," you're hoping that Joe Blo will be the next Martin Scorsese, but it doesn't always work out that way.