THC:Is it so important to get out?

MC:I don't really know if it's important. I know that it works for me. There are a lot of guys who never get out. And others have gone on to be doctors, lawyers and brain surgeons--not many--but there are a few. Most of my friends are dead or in jail. That's the way it went. I don't want to be the spokesperson for tough Italian kids trying to get out of their neighborhood through cinema. The ending of the movie is: that's the way it goes. What it is.

THC:Any advice to young filmmakers?

MC:yes. Get a gun and steal as much money as you can! Advice to young filmmakers? I would say just keep going. It's got to start with the written word. If you have a good script, and you believe enough in it to make the sacrifices to get it made, there's a chance you'll have something. But it's got to start with the written word. Everything else is secondary. You've got to have a great story.

THC:One more question. The mob in Providence and this story--

MC:That's assuming that there is a mob in Providence...

THC:--Assuming that there's a mob in Providence, how do you think they'll react to the movie?

MC:I think the mob in Rhode Island is a thing of the past, just like this movie. This movie could go from the sixties to the nineties.

THC: When is it set?

MC:You tell me. Whenever. And I think that the so-called "mob" in Rhode Island is also ambiguous and passe. Those guys aren't doing that stuff anymore, as far as I know. It's a thing of the past. There were no rumblings. Everyone would think someone was gonna come up and say, "I'll bust your legs." None of that happened. They supported me. The people on Federal Hill were very supportive. This film never would have happened without the support of those people, the Italian-Americans. Never.