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 the great fortune to actually become friends with Sam [Fuller] and ultimately collaborate with him on White Dog, which we wrote together.

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.

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

That love of movies is very much alive in me.

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.

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.