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Quote by Curtis Hanson

“I stopped doing that [photojournalism] and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money. Even for a cheap movie, you need film stock and equipment and actors.”

Quote by Curtis Hanson

Author

Curtis Hanson was an accomplished American film director known for his significant contributions to the film industry. His works spanned various genres, including drama, thriller, and crime. Hanson's directing career began in the 1970s, and his films have gained widespread recognition in the industry. more

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“Whereas to write, all you need is paper and an idea, so I felt that writing might be my stepping stone.”

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“I grew up as a reader as well as a movie-lover, so many of the novelists I admired - and so many of the great filmmakers I loved - were self-taught.”

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“Consequently, their school [film-school ] was the school of life, and it was very much reflected in their work.”

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“I wrote a couple of scripts on spec that didn't get made but got some attention, and I then got offers to write professionally.”

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“My very first professional writing credit was on a movie called The Dunwich Horror, and Roger Corman was the executive producer.”

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“Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.”

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“I also got to know Roger Corman a bit while we were on location in Mendocino. And then, subsequently, a woman who also worked on The Dunwich Horror named Tamara Asseyev and I teamed up and co-produced a picture that I wrote and directed, called Sweet Kill, that Roger Corman's then-new company distributed.”

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“Initially, it connected with me when I was a kid, seeing a lot of movies while growing up in Los Angeles. And Sam's [Fuller] pictures are an expression of such a distinct voice that he was one of those filmmakers who made me aware that there was, in fact, a real presence behind the camera that was telling the story, as opposed to actors just presenting it.”

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“Samuel Fuller pictures were both written and shot in such an unusual way that his voice came through loud and clear, and it made a big impression on me.”

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“I had the great fortune to actually become friends with Sam [Fuller] and ultimately collaborate with him on White Dog, which we wrote together.”

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