Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.

I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers.

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

Hollywood, of course, is the city of illusion.

That love of movies is very much alive in 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.

I never intended to have a career as a journalist, writing about people who make movies. I did it as something that was really rewarding to do, given the opportunity to express myself about something I cared about, and also to learn a lot by watching filmmakers I admired. In a sense, it was my film school. After doing it for a few years, I decided that the time had come to get it together and do some work of my own. Even for a cheap movie, you need film stock and equipment and actors. Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.