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.