I go to a lot of independents and foreign films. I really try to keep up and see what there is to see. If you really love movies, it's the act of watching them that you really love. You can sit and watch a B-Western and have just as much fun watching that as you can a classic. That minute when the lights go down is the part where the magic happens, because you know this could be great. You're always kind of excited, like, "Here I am again in the church of movies, and Mass is starting.".

When I was growing up in the '60s I would have thought that westerns would last forever.

Movies get found in the editing room. The movie that you make is not always necessarily the movie that comes out of the editing room. The trick is to perfect the movie that you have and make it the best version of what you've shot, regardless of what the intent may have been.

The dynamic is extremely similar to Gremlins and the hero is very similar, plus the small town atmosphere. It really is in a way the third Gremlins movie.

A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.

There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.

Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.