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First of all, Sam Fuller left a group of extraordinary movies that are unique, that are Fuller-esque, as one might say, which makes them stand apart from any other director's films.

Curtis Hanson

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Curtis Hanson
Age: 71 †
Born: 1945
Born: March 24
Died: 2016
Died: September 20
Comedian
Film Actor
Film Director
Film Producer
Screenwriter
Reno
Nevada
Curtis Lee Hanson
Film
Directors
Might
Films
Firsts
Unique
Esque
First
Groups
Fuller
Movies
Director
Stand
Apart
Left
Extraordinary
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I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers.
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Hollywood, of course, is the city of illusion.
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The challenge was the opportunity. When I read the first draft of Steve Kloves' fabulous adaptation - I hadn't read [Michael] Chabon's book at that time - what I was immediately captivated by was this group of characters that were at once so engaging and so messed up.
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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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Now, grosses are listed in the newspapers and on television like it's a sporting event. It's ridiculous, because when you're watching a movie, unless you're an investor in the movie or a stockholder in the studio, what do you care how much it's grossing or how much it cost or any of that stuff?
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Put simply, there are many people who want to make movies and very few opportunities for them to do it.
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Having done several of them and also loving other kinds of movies, I'm also tougher on suspense stories in terms of finding one that really excites and surprises me.
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What you care about [movie] is whether it's moving you, or whether you're caught up in it.
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As ridiculous as it is for anybody who knows how movies are made, there were people who actually wrote in reviews that this picture [Bad Influence] had been put out to capitalize on the scandal. Which, of course, would have been impossible.
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It was a unique experience in several ways, because I don't think Sam [Fuller] had ever collaborated with another writer over his whole career.
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So it's discouraging and, yet, when you make a movie like Wonder Boys, in a sense it's its own reward, because it does move people, it gets great reviews, and it becomes part of that library of movies that exist out there. As time goes by, it will find its audience.
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I approach the movies I make as a movie-lover as much as a movie-maker.
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A day doesn't go by when I don't get a compliment on L.A. Confidential, for example.
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I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.
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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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On a personal note, a legacy he left me, aside from being a friend who was important to me on many levels, was that the decades I knew Sam [Fuller] happened to be the decades that were his least happy professionally.
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That love of movies is very much alive in me.
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In L.A. Confidential, it was great to surprise the audience with Guy Pearce and Russell Crowe - two Australian actors that they didn't know at all - and let people discover them through the course of the film.
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Bad Influence, which is an early movie of mine that I'm very fond of. It was an unhappy experience when that picture got released, because it coincided with that ridiculous Rob Lowe videotape scandal.
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So the city [Pittsburgh] was faced with that question of What to do now? because it can't turn back the clock and be what it once was. So thematically, it seemed like the perfect location for the movie. And then, it's a matter of how we get that feeling into the picture and make it a part of [Michael] Chabon's story.
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