I was called recently in some article "Hollywood's Oldest Established Rebel." So I'm sort of working from the inside now, with still a little bit of a rebellious spirit.

You learn, of course, when you're working with something good, but you also can learn when you're working with things that are not good. You can see the reasons they're not good. I would sometimes suggest what could be done, but essentially say "It isn't worth the bother." So I learned from that process.

When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.

People gravitate occasionally to the brilliantly made art low budget films, which is maybe one out of every five hundred low budget films made.

I was called recently in some article "Hollywood's Oldest Established Rebel." So I'm sort of working from the inside now, with still a little bit of a rebellious spirit.

The safest genre is the horror film. But the most unsafe - the most dangerous - is comedy. Because even if your horror film isn't very good, you'll get a few screams and you're okay. With a comedy, if they don't laugh, you're dead.

I look for the ability to work. Directing is hard work. They don't teach you that in film school. Critics are not aware of it, but it is hard, physical work.