First of all, on a cinematic [level], the film answer to that is that Roger Corman was creatively responsible for a lot of cinema history.

There's all of the DVD extra material and all these other pieces of information that don't fit into a 90-minute experience, but it's still content and people still want to see it. It's being open to [the fact that] the business is changing and being open to how you can make money to afford you to stay in business to keep making new things. I think you just have to have an open mind and be really smart about stuff and not be so locked into the conventional way of how the process used to go.

If you take a movie like Easy Rider which everyone counts as the beginning of New Hollywood, that is a big movement. And then, when you really dissect that film and the people that were behind that movie, you realize that it has Roger Corman written all over it. Easy Rider is a hybrid film, taking The Trip and The Wild Angels and making a new explosion. And the people that were making it, guess what, they were all [people who had worked with Roger Corman].

I shot a lot of stuff that no one will ever see. That was my student work. What also happened was there was a big jump in technology.

Francis Ford Coppola didn't come out of the womb with The Godfather. He had a whole build up until he got to that point. I think it's okay to fail. That's how you learn. I think that's hopefully what people can take away from this movie.

There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.

I think being really open to this new world of online and what it means to be online. Also, understanding that maybe it's time to let go of the 90-minute experience and realize that all of the content that comes on top of the 90-minute film experience, [that] there's a lot of that, especially with documentaries.