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What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.

The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.

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Really, what I'm doing is an attempt to continue the best work of the people I adore: Francis Coppola and Scorsese and Robert Altman and Stanley Kubrick and those amazing directors whose work I grew up with and loved.

I start with a mood or an idea that comes from a personal place emotionally, and the narrative concepts come much later.

If everybody lives in the same way, there's something almost narcotizing about it, but the true misery of economic class difference is knowing that you can't have what somebody else does.

I think true economic class unhappiness comes from when across the street someone has a new Cadillac and you can't get that.

My grandparents used to tell me stories about their trip to Ellis Island from Russia and life on the Lower East Side of New York.

At least in America, the narrative is I'm a Cannes favorite. But, in fact, I've had my best experience in Venice, both with the audience and the jury.

The word 'operatic' is often misused to mean over the top, where someone is over-emoting. And that does a terrible disservice because 'operatic' to me means a commitment and a belief to the emotion of the moment that is sincere.

I feel like it's a real shame that my generation doesn't make an appearance at the opera.

It's weird, because American films in the 1930s and '40s, particularly melodramas, were made for woman, from Bette Davis to Joan Crawford to Barbara Stanwyck to Katherine Hepburn, and for some reason we've taken a step backward in this sense.

Melodrama is one of the most stunning art forms. These are stories where the emotions are big, and the situations are big, and the artists believe in the situation dramatically. There's no irony or distance.

Melodrama and melodramatic are not the same thing, and often people make the mistake of confusing the two.

I remember as a little kid, I would always feel comfortable if the light in the crack of my parents' door was on at night. When it went off, that meant they were asleep. Then that terror and the fear...

For me, I get a part of an idea here and a little bit of an idea there, and then finally it accumulates into a movie.

I am an Ashkenazi Jew, and there are a whole host of genetic disorders that only Ashkenazi Jews have. I don't know if you know this, but 16 or 17 disorders that we carry the gene for.

I had written 'Two Lovers' before we started shooting 'We Own the Night.'

There's virtually nothing made up in 'The Immigrant.' So much of the film came from somewhere in my family's past. All the details are from my own family.

I feel that The American Dream is this fallacy that you come to the United States and win lotto. That's a disservice to The American Dream because the American Dream is worth striving for. And it's not easy.

The ending shot of 'Queen Christina' with Greta Garbo is amazing. She's at the head of the ship, and she's been through so much, and the camera gets so close to her face. That really sticks out for me.

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