I love suspense movies, because in a sense they're the most dreamlike of any genre, and I'm sure I'll make another one.

Samuel Fuller pictures were both written and shot in such an unusual way that his voice came through loud and clear, and it made a big impression on me.

I also got to know Roger Corman a bit while we were on location in Mendocino. And then, subsequently, a woman who also worked on The Dunwich Horror named Tamara Asseyev and I teamed up and co-produced a picture that I wrote and directed, called Sweet Kill, that Roger Corman's then-new company distributed.

I was never a critic. I was a journalist and wrote about filmmakers, but I didn't review movies per se. I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers. And I still am. I'm still a great movie fan, and I ,that love of movies is very much alive in me. I approach the movies I make as a movie-lover as much as a movie-maker.

I don't think of the marketplace as teen-oriented or teen-dominated. I think of it as dominated by high-concept, in marketing especially.

I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.

On a personal note, a legacy he left me, aside from being a friend who was important to me on many levels, was that the decades I knew Sam [Fuller] happened to be the decades that were his least happy professionally.