As a producer, I probably am a little stronger than most, since I was a director originally.

I'm not going to shoot seven days a week. I think it's counterproductive. I think you're going to have people stumbling around after a couple of weeks.

You can make a movie about anything, as long as it has a hook to hang the advertising on.

Maybe it's just a matter of getting older and being aware that the market for medium-budget and low-budget films, which is of course what I spent most of my life making, has diminished. And maybe the quantity of ideas has diminished a little bit.

I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.

When I started I had no knowledge of films whatsoever. I was an engineering major at Stanford. And I found out as a senior that they had two film critics on the Stanford Daily, and they got free passes to all the theaters in Palo Alto. So I thought, I'll do that, and I became a film critic. And then I became interested in films. But I had no time to study anything in that area because I was a senior, just finishing up as engineering.

I remember the first film I reviewed for the Daily was a John Ford Western. I think it was My Darling Clementine, but I am not certain. And I was just impressed by, first, the story itself. I didn't know that much about films. But the acting, the director. And particularly, the cinematography, the black-and-white use of exteriors, I noted particularly.