This is the second novel you've adapted. What brought you back to that genre?
quote-leftA great novelist presents a gallery of characters and situations and places with such an extraordinary sense of detail that, if you feel that it is something that you could interpret and give cinematic life to, it's difficult to resist the gift that's been given to you. It's that balance of trying to respect and honour the spirit of their work, but also feeling free to reinvent and to find a way of reinterpreting it, which makes the process of adaptation organic and urgent. I think a film adaptation needs to have a sense of urgency: there's nothing more boring to me than illustrating a book. With Exotica that I'd gone as far as I could with a certain set of obsessions and concerns, and that film seemed to be the summation of a certain type of film that I was making up to that point.
It took you a very long time to get the money to make this film, and there were a lot of times when it looked like it wouldn't get made. Are you glad you waited?
In a few minutes I'll ask you about Beloved, and about Storefront Hitchcock, but before I do I'd just like to do a little canter over some other parts of your career. I know you've talked a lot about your time in the Corman stable in the 1970s and your development through the work you did there and the movies you made with Roger Corman. I wanted to ask you about what the single most important thing was that you learnt from Roger Corman in terms of that background that really gave you the opportunity to become a director?
quote-leftI think it was probably that it was completely understood that if you didn't complete the days work on any given day that you would be replaced. That instilled in me a very strong discipline and a sense that first and foremost your priority was to keep the movie on schedule and on budget, and that's one way you get to stay on the job. That was very valuable. Roger also said something I'll never forget. He said that as far as he was concerned the formula for a director was 40 per cent artist, 60 per cent businessman. He also had a little pat speech that he'd give you before you did your first directing job, a lot of really good rules - stuff that most movie goers know anyway - just ways to keep the eye entertained, the value of well-motivated camera movement... that kind of thing. He was great. We called it the Roger Corman school of film technique. You really did learn on the job.
Just when you finally appeared to have left the Hitchcock comparisons behind, what drew you back to doing a thriller?
quote-leftThe thing you can determine from me and my career is that I never gave a damn what anybody thought. I always did what I thought was best for myself, and if anyone else thought it was like Hitchcock, too bad! I was there, basically, to learn something, or else I was interested in a piece of material. And if I wanted to make that kind of movie and everybody else thought it wasn't the right thing for me to be doing, or if they had some kind of comment about it, it never made any difference to me. As long as I thought I could get the movie made, I didn't care.
" The world is a fine place and worth the fighting for and I hate very much to leave it.
" All I need to make a comedy is a park, a policeman and a pretty girl.
" Seeing a murder on television, can help work off one's antagonisms.
And if you haven't any antagonisms, the commercials will give you some!
" Any sufficiently advanced technology is indistinguishable from magic
" Sometimes a scream is better than a thesis.
" Do, or do not. - There is no 'try'..
" The difference between fiction and reality? Fiction has to make sense
" Kiss and make up...
but too much makeup has ruined many a kiss.
" The camera makes everyone a tourist in other people's reality, and eventually in one's own.
" The problem is not that television presents us with entertaining subject matter,
but, that all subject matter is presented as entertaining.…
" I'll give you a definite maybe.
" Imitation is the sincerest form of television.
" It's kind of fun to do the impossible.
" When you're down and out, something always turns up -- and it's usually the noses of your friends.
" From the moment I picked your book up until I laid it down I was convulsed with laughter. Some day I intend reading it.
To a young Eugene Roach on the subject of acting
" Don't ever let 'em catch you at it.
" I'll moider da bum!
" My mother never saw the irony in calling me a son-of-a-bitch.
" The one function TV news performs very well is that when there is no news we give it to you with the same emphasis as if there were.
" No passion in the world is equal to the passion to alter someone else's draft.
" I don't know anything about music. In my line you don't have to.
Advise to a young Richard Roundtree
" Whatever you do in this business, It's much easier than lifting heavy things.
" Our doubts are traitors and make us lose the good we oft might win by favoring to attempt.
" You don't write because you want to say something; you write because you've got something to say.
" The people who get on in this world are the people who get up and look for the circumstances they want, and, if they can't find them, make them!
" Knowledge speaks, but wisdom listens.
While attending a Production Meeting
" This is no place to ask questions!!
" No matter how slow the film, Spirit always stands still long enough for the photographer it has chosen.
" Life ain't no dress rehearsal.
" I saw a woman wearing a sweatshirt with 'Guess' on it.
I said, Thyroid problem?
" Women might be able to fake orgasms. But men can fake whole relationships.
" I must say that I find television very educational. The minute somebody turns it on, I go to the library and read a book.
" I think there is a world market for maybe five computers.
" What's this business of being a writer?
It's just putting one word after another.
" I never forget a face, but in your case I'll be glad to make an exception.
" The embarrassing thing is that the salad dressing is outgrossing my films.
From: "Tuesday's with Morrie"
" We must learn to love one another or die.... We must!
" Why should people go out and pay to see bad films when they can stay at home and see bad television for nothing?
" Writing is the only profession where no one considers you ridiculous if you earn no money.
" The average American family hasn't time for television.
" I can't wait to one day shoot in Detroit and say 'Let's have this double for Toronto'.
" Who the hell wants to hear actors talk?
" The difference between sex and love is that sex relieves tension and love causes it.
" It is difficult to produce a television documentary that is both incisive and probing when every twelve minutes one is interrupted by twelve dancing rabbits singing about toilet paper.
" Television has done much for psychiatry by spreading information about it, as well as contributing to the need for it.
" The remarkable thing about television is that it permits several million people to laugh at the same joke and still feel lonely.
" The movies are the only business where you can go out front and applaud yourself.
" Television enables you to be entertained in your home by people you wouldn't have in your home.
" The faster I write the better my output. If I'm going slow I'm in trouble. It means I'm pushing the words instead of being pulled by them.
Sage Advise to a Young Oregonian, Barbara Niven
" If you want to make it in show business, get the hell out of Oregon!
" I don't want to achieve immortality through my work; I want to achieve immortality through not dying.