I prefer people who don't get caught, and if they do get caught, I prefer people who don't give in.

Film in the 20th century, it's the American art form, like jazz.

The first element that I connected with was the emotion. Sorry, that's how it goes.

One of the things is that the good intentions of Prohibition, from reading over the years and from becoming obsessed with the research of gangs in New York City, seems to have allowed crime figures at the time, like Luciano, Capone, Torrio and Rothstein, to organize to become more powerful, which pulled all the way through until the '70s.

Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...

Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.

You don't make pictures for Oscars.