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Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.

But he did say that the character would be on the sidelines in movies One and Two, and move into the middle with number Three, but I didn't realize he would move in with quite such a bang.

Each time you see a Western movie, it's a good reflection of where things are in the world at that time. It's probably one of the purest forms of cinema that really tells you where the world is.

I've often been accused of, 'Oh the movies looked good but there's no story,' but I disagree with that in theory, and '9' is a perfect example for me because the feel, the texture, and the look of that world, and those characters, is the story. That's a major component of why you feel the way you do when you're watching it.

A good movie is three good scenes and no bad scenes.

Usually with this genre the first thing that happens is a good fight sequence to show that you're in good hands. So we broke that rule. I think a lot of that comes from the western audience.

The ending is really the most important part of the movie. If the first hour and 20 minutes is terrific and the last ten minutes stinks, everybody walks out of the theatre and says: 'That was a lousy movie!'

The lumpiness of 'The Good Lie's progression - from infancy to adulthood, and from ethnic horror to gentle social comedy to a heroic gift of freedom - proclaims the film's respect for facts and truths that can't be squeezed into a smooth narrative.

In all good westerns, the good guy is always a little bit questionable because he kind-of has to make moral judgments.

The title of the movie is open to interpretation.