I go through periods, usually when I'm editing and shooting, of seeing only old films.

You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it.

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]...

There are two kinds of power you have to fight. The first is the money, and that's just our system. The other is the people close around you, knowing when to accept their criticism, knowing when to say no.

More personal films, you could make them, but your budgets would be cut down.

The tone of the picture and the atmosphere was in my head and in my blood in a way once I'd decided to make the picture. I had to find my way through that to choose, select, emphasise certain visual elements and sound.

It seems to me that any sensible person must see that violence does not change the world and if it does, then only temporarily.