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.
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.
And then we watched an amazing number of movies from the late '60s and '70s, which is my favorite time, and we studied their camera movements, their stocks, the way they lit stuff, the colors they used.
I felt that as long as we were being honest, and that we didn't bend the truth to accomplish another goal, to be entertaining or to be a happy ending, I was confident that we'd be able to tell the story the way it happened.
I mean look, the thing about movie making and criticism and producing movies now, everyone compares everything to something else.
Like a Pearl Harbor, they're going into their opening weekend knowing that they spent $110 million making this movie. That pressure must be enormous.