Quote

When you make an exploitation film, you always want to have a real issue. That's how they were always done.

Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.

I love movies that are just straight-up exploitation, but the ones that endure and the ones that last are the ones where the filmmakers put in that extra level of thought; after 25 years you put them on in front of an audience, and they'll respond to it and enjoy it.

Content financing is a difficult beast no matter what era of Hollywood we're talking about.

What you have now is a Hollywood that is pure poison. Hollywood was a central place in the history of art in the 20th century: it was human idealism preserved. And then, like any great place, it collapsed, and it collapsed into the most awful machinery in the world.

The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.

Hollywood people are filled with guilt: white guilt, liberal guilt, money guilt. They feel bad that they're so rich, they feel they don't work that much for all that money - and they don't, for the amount of money they make.

It's only in relatively recent years that Hollywood became the playground of multinational corporations which regard movies and TV shows as a minor irritant to their overall activity.

It's difficult being a child actor. I don't think everything beautiful has to be exploited. Some things can be beautiful and left beautiful.