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

When I'm casting a picture, I think who I'd like to see in it if I was sitting in a theater. Who would surprise me?

We're not used to seeing movies, especially with physical action, when it isn't the man who comes in to save the day.

Rob Lowe, who I thought was really good in the movie [ Bad Influence], had his performance overshadowed by this sort of tabloid approach to him and the movie.

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.

It was a unique experience in several ways, because I don't think Sam [Fuller] had ever collaborated with another writer over his whole career.

So it's discouraging and, yet, when you make a movie like Wonder Boys, in a sense it's its own reward, because it does move people, it gets great reviews, and it becomes part of that library of movies that exist out there. As time goes by, it will find its audience.