I don't consider myself a mean person. I hope I'm not.
— Stanley Tucci
I don't like not being busy.
I would love to have my hair back and to be two inches taller - I am 5 ft. 8 in.
I love directing - it's always so involving, so challenging.
Sometimes it's difficult directing yourself on film because you can't quite separate yourself from the subject.
It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.
So yes, I hope to act in other people's movies, big and small, because that's how I make my living, really.
And I love doing my own projects; that's what I've always wanted to do.
I never go overbudget on my movies.
You gotta make the movie you want to make.
I make time to write.
I'm a control freak. Totally.
Even The Impostors, as silly as it is, is a very intimate film, in a way.
I don't like to move the camera that much anyway.
People wear shorts to the Broadway theater. There should be a law against that.
I live in London, and I spend a lot of time in England and have a lot of British friends.
My late wife - she died of cancer. We tried everything we could do to save her. I wish that I could have done more and that I could have been with her at the moment she passed away. I couldn't be in that room because I knew it would be so devastating that I wouldn't be able to take care of the kids after.
I can remember the World's Fair in New York in 1964; I was three.
When I write a screenplay, and when I direct, I always pull lines out.
As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.
I have consciously not taken the role of a gangster, which has been offered to me far too many times.
I've always considered myself an actor first and foremost.
I like to see how I can do it for less money.
The thing is, I'm a very practical filmmaker.
But usually I'll wake up and start writing about nine o'clock. I'll probably write for about three hours, and I'll do that over the next month and a half.
The majority of directors I've worked with didn't know how to talk to actors.
I was dissatisfied just being an actor.
Big Night and The Impostors are both things that I wrote.
I'd read Up in the Old Hotel, and I wanted to do something with Mitchell's stuff for a long time.
Like Joseph Mitchell, I would scour the streets of New York and find little pieces of what other people think of as junk - and collect it.
You don't want to watch people who are really awful. That's the goal whenever you're playing someone who's a little twisted. One of the important aspects of this is we just don't know who he is. Or who she is. And we find out along the way.
I wanted to be an architect, an artist, or an actor.
The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.
I'm actually one who will encourage directors to cut my lines.
As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.
My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
I'm not saying they won't be bigger projects someday.
I'm not interested in wasting money on a project.
I would rather just do the things I want to do.
I write in the mornings. During my down time.
I like to use all of myself, and acting wasn't doing that.
I wanted to be an actor when I was a kid.
I mean, Scorsese's a genius, and that's one way of shooting.
I didn't know you had to change diapers so often. I couldn't believe it - we must change them 10 times a day - each. So that's 20 diapers a piece a day.
I was always attracted to the past as a kid.
