You can be born-again and believe in Jesus, believe in Jesus' ideas and try to live them out, without becoming totally intolerant of other people.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

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]...

When I was growing up in the mid-'50s, the Roaring Twenties were a huge part of the culture. There were a number of films and a bunch of television shows that dealt with the mythology of the underworld from that period.

An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is-the very best.

I tried for about two semesters in a preparatory seminary. But I was about 15 and didn't fully understand what a vocation means.

As you grow older, you change.