What I think happens today is that a lot of filmmakers look at other films that are retro pieces, like L.A. Confidential, and say, oh, that's period. We didn't want to do the stereotypical stuff.

There are a lot of films that are drug dramas, and we didn't want to tell Scarface again.

I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.

That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.

You know, I think everything I do cinematically for the rest of my life will probably have some direct route back to Jonathan. But I love him to death. He's like my best friend and my big brother.

I think filmmakers want their movies to be seen.