It Seems To Me That

An Interviewer Once Asked Me To Discuss My Collaboration With Elmer Bernstein, And Precisely Why I Chose To Work With Him. My First Thought Was: How Could I Not Work With Elmer, When I Had The Chance? Simply Put, He's The Best There Is-the Very Best.

My Father Had This Mythological Sense Of The Old New York, And He Used To Tell Me Stories About These Old Gangs, Particularly The Forty Thieves In The Fourth Ward.

The Only Thing I Really Wanted Was The Freedom To Be Able To Get What I Want On Film. I’ve Dealt With The Mpaa Since 1973, So I Know How To Renegotiate And Rework.

It Did Remind Me Of Something Out Of Greek Mythology - The Richest King Who Gets Everything He Wants, But Ultimately His Family Has A Curse On It From The Gods.

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]...