I've always got five or six things that would either make a good feature or TV show. And you just never know. You go and you pitch and it may be exactly what they're looking for, or they may stop you after two sentences and say, "Oh, we've already done something just like that."

If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.

I figured, 'When is that ever going to happen again?'. So I basically set out the opposite way movies are made; I set out with a budget first. I said, 'What can I do well for $40,000?'.

I never thought about being a writer as I grew up. A writer wasn't something I wanted to be. An outfielder was something to be. Most of what I know about style I learned from Roberto Clemente.

We just said, 'Okay, you're in the movie. Bring what you would bring for a three-day weekend and I hope you like the way you look in it because once you're on camera, that's your wardrobe.' But it worked; it worked and we were very surprised.

In a movie you have all these logistical problems; all these practical problems. But you're also going to have people come who can do things that you can't do, and you get to direct their talents.

Basically, if you could get a good trailer out of the script, Roger had no objection to you making a really good movie. He liked it if you did. He liked the more cleverness and ingenuity you could bring to it. He just wasn't going to give you any more money.