The other thing being at UCLA was just being in California and around the movie business. Which I honestly believe, and I've told this to screenwriters, you have to do. You have to be there in order to write or direct movies.

You can just start writing, but you're gonna go off on 10 or 12 starts and weird tangents, and yeah you'll have those pages to use later - to gift wrap some fish for your mother - but either way you're gonna have pages.

It was like a frat house for film geeks, the Pad O' Guys. That's what being at UCLA afforded me. So when one of us had some success - in this case, my pal Fred Dekker - he would reach down the ladder and help me up a rung, give my work to his agent to pass around to see if anyone liked it.

The worst of the action films are the ones where everything is one shout from beginning to finish. And there's no differentiation between beats, like small or big, or quiet or expansive. It's all just one loud shout.

People would say, "Well yeah, if I wrote action films, if I wrote the trash that you write, I could make millions too. But I want to write my real movie about these Guatemalan immigrants, and how they hid under a truck for 300 miles." And that's fine. I'd love to make that film too, but to dismiss everything I did just because it's action seems wrong.

I think it's an obligation to make a movie full, so you have to see it twice to get all the moments.

I had my group of friends, and they stayed my group of friends, they were good about that. We all started to succeed at the same time, so that sort of took the curse off it. I didn't have a bunch of people scowling at me and being potentially jealous. I just had good friends who I was able to help, and they helped me. Yet it eventually came to feel debilitating.