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The bottom line is, I tend to be going back to older and older music.
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.