Having done several of them and also loving other kinds of movies, I'm also tougher on suspense stories in terms of finding one that really excites and surprises me.

Initially, it connected with me when I was a kid, seeing a lot of movies while growing up in Los Angeles. And Sam's [Fuller] pictures are an expression of such a distinct voice that he was one of those filmmakers who made me aware that there was, in fact, a real presence behind the camera that was telling the story, as opposed to actors just presenting it.

His [Sam Fuller] self-discipline was amazing. No matter what happened, he'd always go out to his Royal Upright typewriter and just keep working on his stories, his "yarns" as he called them.

My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.

From my point of view, when I was thinking about the prospect of [Michael Douglas] in this part, I wondered if he would go all the way with it. The reason I was concerned is that, oftentimes, actors - especially movie stars - when they're playing a character who might be perceived as unattractive or eccentric, will wink at the audience while they're doing it.

First of all, Sam Fuller left a group of extraordinary movies that are unique, that are "Fuller-esque," as one might say, which makes them stand apart from any other director's films.

A day doesn't go by when I don't get a compliment on L.A. Confidential, for example.