Griffin Dunne

I only got to be able to act, because I gave myself a job as a producer.

Every movie is wildly different. So many of the problems are the same, but they take on different guises.

And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.

I'm being told it saves money to shoot in Toronto, because of tax benefits, the crews are cheaper, but what I save in the bottom line, I lose in a million other ways.

I've always been schizophrenic; I've never been interested in limiting myself.

As a director, I've been able to combine with what I've learned as an actor and as a producer: it melds quite nicely into what I feel like I should have been doing all along.

It struck me that working digitally with a small crew, I could lay out a general plan for Famous and hope for mistakes which would create something more than satire and something less than truthful reality.

I met Steve McQueen once. Well, met isn't really the right word.

In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

I think we were the first picture to cut on Final Cut Pro. So we were the guinea pigs, because we got a deal on the system. But with that comes all sorts of technological problems I couldn't begin to describe.

My hunger and desperation, being an actor, an out of work actor - my memory of that is as fresh as an open wound.