You do form a cadre of people that you trust and who are good at their jobs and who know you and what your quirks and foibles are. It makes making movies very collegial and a lot more fun.

I grew up in New Jersey and my father was a golf pro, so I was groomed for sports, but I wasn't very good, so my interests lay elsewhere.

When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.

My generation remembered going to the movies as an event. We would see these things, we would bring them home, and we would think about them for years because it would take a long time before they would go on television where you could re-experience the fun that you had when you watched them.

Repetitiveness is one of the things that's most difficult to get away from in genre pictures, because people come specifically to see certain kinds of things but get disappointed if they're presented in the same way. So to try to find a new way to show old stuff is always the challenge.

It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.

There's so little difference between television and features as far as you make the film. I mean, you have less money and it's a little quicker, but the concept is all on television.