I Can't Really Envision A Time When

My Films Really Have To Be A Part Of A Whole Body Of Work That Says Something To Me.

I'm Trying Not To Let The Anger And The Violence That Erupt Take Over My Life. I Guess It Comes With The Growing Process, I Don't Know. A Little Mellowing.

Sam Fuller And 'shock Corridor' Can Only Be Conjured As A Mantra. 'shock Corridor' Is A Classic Work Of Art - It's Unique. It Comes From The Unique Experience Of Being Sam Fuller And Yes, There's Always That Element Of 'shock Corridor' Hovering Around The Picture, But Never Specifically. In Fact, I Didn't Even Screen It Because It's In Us. It's In Me Anyway. It's In Me. It Was A Way Of Conjuring Up Support Just By Saying The Name, 'shock Corridor,' As I Was Going To Shoot. Poor Sam [fuller]...

The Most Important Thing Is, How Can I Move Forward Towards Something That I Can't Articulate, That Is New In Storytelling With Moving Images And Sound?

I've Been Extremely Lucky To Work With Elmer Bernstein, Howard Shore Over The Years, But I've Always Imagined Films With My Own Scores, Because I Don't Come From That World Or That Period Of Filmmaking. And So How Could I Make Up My Own Score On A Film Like This Where It Isn't Necessarily Made Up Of Popular Music From The Radio Or The Period; It Isn't Necessarily Classical Music. But What If It's Modern Symphonic Music?