I have this data bank garbage can in the back of my head that is an emotional collection of events that have occurred in my life.
I grew up in Albany Park in Chicago and then went to Lake View High School.
I was an outsider as a kid, and I grew up around a lot of violence.
I know what it is like to fear violence. I understand the adrenalin rush that comes before violent confrontations. I write my scripts from an emotional point of view and direct so the audience can experience this adrenalin rush.
One of the great things going on in Chicago is the educational facilities here. And the largest film school in the world is right here in Chicago: Columbia College.
Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.
The whole idea of 'Death Line' was to kind of highlight class distinctions in England more than to make a scary movie, and I just kind of wrapped my political treatise of the class distinctions in England in this movie.
The gruesomeness of 'Death Line' was an absolute necessity for me to bring up the political content of the film. I wanted to show how devastating class distinction could be.
'Vice Squad' needed to be real if it was going to have the impact that I wanted it to have.
I think that we, as a civilization, need to sit down and figure out how to solve political problems over a table, not over a battlefield.