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

So the city [Pittsburgh] was faced with that question of "What to do now?" because it can't turn back the clock and be what it once was. So thematically, it seemed like the perfect location for the movie. And then, it's a matter of how we get that feeling into the picture and make it a part of [Michael] Chabon's story.

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

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.

Consequently, their school [film-school ] was the school of life, and it was very much reflected in their work.

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.

I look for characters that interest me, and a story that keeps me involved and makes me want to know what happens next.