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.

I didn't look at it as a transition so much, because I never intended to have a career as a journalist, writing about people who make movies.

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.

You can imagine what it was like for me to actually be sitting in a room with matching typewriters, working under the tutelage of this guy I so admired, both as a filmmaker and as a man.

Now, grosses are listed in the newspapers and on television like it's a sporting event. It's ridiculous, because when you're watching a movie, unless you're an investor in the movie or a stockholder in the studio, what do you care how much it's grossing or how much it cost or any of that stuff?

Consequently, it's so gratifying to then make a picture that's successful and gives you leverage to have better circumstances than you've ever had, before the next time out.

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.