I was a journalist and wrote about filmmakers, but I didn't review movies per se.

I can't speak to how Michael [Douglas] approached it in terms of his process.

What you care about [movie] is whether it's moving you, or whether you're caught up in it.

Of course, Sam [Fuller] was like, "No problem," because he treated it like a newspaper deadline. We worked long hours, often very late into the night, in his garage, which had been converted into an office. It was freezing cold outside and there was no heat in the garage, so he had a little space heater over by his side and I had a blanket that he graciously gave me to drape around my shoulders like a Navajo Indian. And he gave me cigars, too, of course.

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.

Put simply, there are many people who want to make movies and very few opportunities for them to do it.

Pittsburgh has this rich industrial past, when it was the heart of the U.S. steel industry, and it burned out as the industry burned out and moved elsewhere.