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I'm a Hollywood kid, and I know that there are only so many stories. Only so many tales around the campfire that we have to tell. Then we have to regurgitate them. Our grandparents' movies were all remakes of silent films - we forget that, but it's true.

I was dirt-poor. I could barely hold down a job. Eventually, though, I started getting small parts on shows like 'Smallville,' 'Supernatural'... and lots of really bad sci-fi movies. I was running around the woods in wolf contacts, covered in fake blood made out of pancake syrup, roaring.

The funny thing about my films is that you can make little piles of them. You could make little piles of the movie that were family movies, you could make a little art movie pile, you could make a little action movie pile.

In troubled times the last thing you want to do is to stick your money into a film. It's such a gamble.

There was a little movie I did called 'Women In Trouble' that a friend of mine made. That, to me, was a very satisfying project. It was shot so quickly during the writer's strike, and there was no money. It was a really fun project.

When I was a kid, my favorite movies were the George Pal version of 'War Of The Worlds,' 'Them,' and 'Invasion of the Body Snatchers.' Those movies were scary! They haunted my nightmares for years, so when I started writing, I wanted to write a story that was just as big and just as scary.

I love how you can shoot a movie in a month or two or three of four, and it's this encapsulated story that you box up and ship out into the world, and what it is, is what it is.

I find titles the hardest thing. I was worried that 'Waste Land' was too much of a downer. For me, 'The Crash Reel' confronts what the film is about: it's not just about the reality of a crash, it's about the extremity we all face, and what happens when life crashes on you.