You know, the art films would usually be more, I mean the exploitation movies would usually be more lurid, but not that much more. I mean, actually back in those days that was what foreign films had. They had sex, they were selling Laura Antonelli.

My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.

To really get to know people and discover humanity, which is what I truly think writers and actors do, you've got to be interested in other human beings, you have to be interested in humanity in general, and you have to do some discovering of humanity and different people.

I like my song-sequences in my movies, but one of the things I like about them, is I get in and I get out.

Novelists have always had complete freedom to pretty much tell their story any way they saw fit. And that's what I'm trying to do.

I try not to get analytical in the writing process. I try to just kind of keep the flow from my brain to my hand as far as the pen is concerned and go with the moment and go with my guts.

My earliest childhood memories are of watching Abbott & Costello Meet Frankenstein and Frankenstein Must Be Destroyed. I remember not liking Frankenstein then and going, "Who is this bald guy?" But I love it now.