I always do an all-night horror marathon on Saturdays where we start at seven and go until five in the morning.

I liked the Hollywood stuff. But I also liked the fact that in both, you know, I guess in the, like, the auteur, the art film auteur at that time was Lina Wertmuller. So, you go see "Swept Away" or you go see a movie she did "Blood Feud" with Sophia Loren and Giancarlo Giannini. And I remember "Wifemistress" was a big movie at that time, really liked it, Laura Antonelli.

I don't judge my characters, and that's my job not to judge them.

But the idea of using the Apache resistance, one, it works effective to actually get German soldiers to think of Jews that way. You know, and they're not just any Jews. They're the American Jews. They're Jews with entitlement.

There was that last blast of Westerns that came out in the Seventies, those Vietnam/Watergate Westerns where everything was about demystification. And I like that about those movies.

I've always equated the writing process with editing, sort of like when I get through editing the movie, that's like my last draft of the screenplay.

Then they'd [Nazi] make movies against England, you know, in the same way, to help, you know, feather their nest for what they - their aggressions.