Favorite Interviewees

I interviewed him in NYC in October 1983 when he came to shoot the a scene of "Romancing the Stone" and preparing to produce "Starman". He was a true team player, enthusiastic about crew members' contributions (including a costumer) on the shoot, as well as calling Kathleen Turner the true star of the film and predicting her future major success.

My interview with her in NYC at her suite in the Plaza Hotel in October 1991, for a tribute to Vittorio De Sica being held at MoMa, and she was such a regal presence! She recalled the experience of working with De Sica and Chaplin, and how their expericence as actors affected their method of directing.

I interviewed him at the Mayflower Hotel near Columbus Circle in June 1989 about his performance in "Star Trek V: The Final Frontier" which he was particularly proud of, dealing with the sensitive topic of euthanasia. We also covered in depth his career at Paramount beginning as a contract player in 1947, as well as later crucial influence from director Edward Dymytryk and of course "Trek"'s creator Gene Roddenberry. I wasn't the only fan there: our talk was briefly interrupted when no less than recently married Reba McIntire came to our table to have her new stepson Brandon meet his hero (no doubt DeForest was a hero of hers as well).

I interviewed her twice: first in June 1984 at Old Homestead restaurant in NYC (w/German producer Manfred Durniok) to shoot Wayne Wang's "Dim Sum" and audition for Cimino's "Year of the Dragon"- her name was Chong Chen at that time; and then in 1989 to discuss her success in "Twin Peaks" and the difficulty of breaking through in Hollywood.

I met him in 1965-66 performing with Horace Silver and later Kenny Dorham at Boston's Jazz Workshop, and kept in touch, eventually amassing a complete collection of his recordings and writing up his complete discography. Our last interview was at NY's Empire Hotel in 1995 when he was working on releasing the live recordings he made three decades earlier with pianist Wynton Kelly's group.

I interviewed him many times, sometimes in tandem with James Ivory. Most memorable was at a party in January 1986 before the release of "A Room with a View" when he introduced the New York press to Helena Bonham Carter, who also discussed her completed but yet to be released "Lady Jane" as well; in July 1984 re: release of "The Bostonians" & new projects with Rank Org. of England; in March 1988 re: 3-picture deal with Gary Hendler for TriStar release, starting with "Slaves of New York; in February 1989 re: prepping release of "Slaves of New York" as well as his next project "Mr. & Mrs. Bridge"; in February 1990 re: many new film projects, inc. Merchant-directed "In Custody", "Howards End" and "Jefferson in Paris"; in November 1990 re: financing completed for "Howards End", plus foreign success of "Mr. & Mrs. Bridge" before its U.S. release; in June 1992 re: deal with Disney to produce "Jefferson in Paris"

I did an amusing stand-up interview with him at Elaine's restaurant in Manhattan in 1980 for the movie "Venom". Every time Klaus wanted to make a point he would grab me by both shoulders for emphasis. He was especially proud of how he had got the crew to gang up with him to get director Tobe Hooper fired, after disagreements during filming.

My Variety interview with the great writer-director took place at his home in Bedford, N.Y., covering his career and work in Hollywood labor issues (DGA and Screen Actors Guild). The guest bathroom had a blowup of a New Yorker magazine cartoon making fun of his famous movie "Cleopatra", its display there reflecting his own sense of humor.

My review of his debut movie "Joe's Bed-Stuy Barbershop" in 1984 was the first critique published in Spike's career, and I later had the first published review of "Do the Right Thing" which I filed for Daily Variety right after the 9 a.m. press screening at the 1989 Cannes Film Festival, where his entourage included Ossie Davis and Ruby Dee, both amazing to meet and chat with. I covered his other films, interviewing him about the production of "Malcolm X".

My full-length interview with Malcolm in 1980 was transcribed and appeared in Mise-en-Scene film magazine published by my alma mater Case Western Reserve University. He was in NY performing in "Look Back in Anger" at the Roundabout theater directed by Lindsay Anderson, and was especially animated, acting out scenes from his movies. A treat was when his fiancee Mary Steenburgen joined us late in the talk.

I reviewed "Ms. 45" in 1981 prior to its debut in NY. My first interview with Zoe Tamerlis was years later, in December 1985 re: her avant-garde movie "Curfew U.S.A." (never completed), directed by Christian De Lorent. Our interview took place at Union Square Cafe in Manhattan, covering her career, writing screenplays including the never-made John Holmes biopic that had Chris Walken cast as Holmes, and in particular "Bad Lieutenant". She later was my guest along with her husband Robert Lund at the awards ceremony in 1993 of the NYFCC.

We got to know each other in the 1980s and I interviewed him in February 1989 about his return to filmmaking, with son Mario in "Identity Crisis"; in April 1990 re: planned movie on the Black Panthers, collaborating with Mario; in March 1991 re: impressive growth in film releases from Black directors for my survey story. One memorable occasion was my taking him to see Oliver Stone's "The Doors" at the Ziegfeld theater and hearing first-hand Melvin's strong feelings on how badly Stone had handled that subject and era.

A longtime fan of her Warhol movies, I interviewed her in December 1988 when her autobiography was published, and she had great stories about her relationship with Salvador Dali. Amusingly she signed my copy: "Don't be a vampire Larry". I must have rambled on a bit about horror movies, and so many years later I'm glad I never interviewed Herschel Walker!

I interviewed him in NY in February 1982 covering the U.S. release of "Das Boot" -Jurgen Prochnow was also present for the "Das Boot" talk we had; in July 1984 re: release of "The Neverending Story" and taking over direction of "Enemy Mine"; in October 1989 re: filming "The Plastic Nightmare" (a project he first planned a decade ago) as well as WW I drama "Fields of Honor"

I interviewed her together with her director husband Pasquale Squitieri together in NYC in December 1991 when their film "Act of Sorrow" opened the series "RAI-2: Italy, the Other Cinema" at MoMA.

He was my favorite film producer, based on such movies as "Rider on the Rain", "Le Trou", "Bob le Flambeur", Kurosawa's "Ran" and all the later Bunuel features. Our interview occurred in NY in January 1982, where he was overseeing the production of James Toback's movie "Exposed" and I unexpectedly appeared in it fleetingly as an extra -my back to the camera.

I interviewed her twice for the opening of two films: "Sheer Madness" in January 1982 and "Rosa Luxembourg".

I did two interviews, one during the press junket in December 1984 for "A Passage to India" and in January 1989 (by phone) for the opening of "Little Dorrit", also discussing the restoration of "Lawrence of Arabia" for which he revoiced his role in footage previously cut from the negative post-initial release of the David Lean classic

My 1st interview took place at the Gulf & Western Bldg. in Columbus Circle, when he recalled in detail his direction of "Star Trek III" and the preparation for his first feature as helmer. I'll never forget the moment of shock when I stood at the elevator in the lobby and the doors opened to reveal inches away from me: Spock! Certainly a fan's dream.

I interviewed her with husband Simon McCorkindale and their star Derek de Lint at the Cannes Film Festival in May 1988 for their production "Stealing Heaven", plus projects "Woden's Day" and Susan starring in "The Lifeguard" in Yugoslavia; also in April 1989 re: her campaign to rescue "Heaven" from U.S. distributor, as well as presenting 2nd production "That Winter of White Roses" at Cannes

Our interview in October 1982 for "La truite" and its American release included fascinating information about a dream project he ultimately was never able to film: the adaptation by Harold Pinter of Proust's "Remembrance of Things Past", emphasizing "Cities of the Plain" section.

Her production of James Cameron's "The Abyss" was our subject, and at the time was of special interest since independent U.S. filmmaker Earl Owensby was making a big splash (pun intended) with his brand-new production facilities Hurd & Cameron used in South Carolina.

Another animated interviewee who one can't imagine remaining seated, but given to acting things out, he was long my hero in movies and on TV, and it was exciting to hear his thoughts on his release "Out of the Blue".

He was in NYC attending a SoHo gallery presenting his collages artwork. We had a chat pre-opening about his movies. His knowledge of many subjects greatly impressed me, and almost comically in our conversation he said casually: "You know Larry, the Jacobeans would often take the lead roles in their plays...". As if I knew that!

We did several phone interviews, including in December 1986 as I covered her early Corman productions and transition from acting to directing; then in July 1987 re: quickie production history of her vampire movie "Half-Life"; my enthusiasm for her work eventually inspired Larry Kardish to book her "Poison Ivy" with Drew Barrymore at MoMA with Katt in attendance.

My favorite director dating back to his BBC works like "Song of Summer", I got a stand-up interview in Ottawa in 1977 at a rare screening of his banned TV feature "Dance of the Seven Veils". Exciting, especially when Ken had to deal with an extremely negative audience reaction (clearly Richard Strauss enthusiasts), proving his ability to rile up viewers was still intact.

Our interview was in June 1989, detailing the production history of her debut movie "The Kill-Off", then beginning to make the film festival rounds from Munich to London. She also outlined her next project, another Jim Thompson title: "Savage Night".

We both coincidentally left Ohio for New York in 1980, and I reviewed his debut movie "Permanent Vacation" in 1982 after a screening in Chelsea, perhaps the first published review of his work. Several years later I interviewed him and his producer concerning their method of independently financing his movies by relying on foreign pre-sales deals.

I interviewed him in October 1989 when his "The Mahabharata" was shown in NYC

I interviewed him alongside Wolfgang Petersen at Renee Furst's (p.r. legend!) apartment in Feb. 1982 for NY launch of "Das Boot"

I took him aside at a party for Nic Roeg's "Bad Timing" and interviewed him about his '60s movies including "I, a Man" and "Chelsea Girls" and he described how many of his projects were not made for (or ever had) commercial releases. Memorably, after the interview he called over the editor of Interview magazine recommending him to hire me! (I didn't accept). Sadly I wrote his Variety obituary 7 years later.

I interviewed her in NYC in December 1984 at a press junket for "A Passage to India", where cast members including Alec Guinness and James Fox also participated.

I followed his career and met with him throughout the '80s, doing interviews about his important crossover films "Roommates" and "In Love" as well as his later Vestron and Playboy mainstream productions (Playboy Channel investment in his films beginning with "In Love"); January 1983 re: his creating a Film Market for Adult Cinema distribs & buyers held during competing American Film Market; in August 1983 re: signing 10-picture deal to produce R-rated films for Playboy Channel; in September 1985 re: new 10-picture deal with Vestron starting with "Sex Appeal"; in July 1986 re: reaction to Meese report, noting how in many parts of the U.S. even R-rated movies are opposed by groups alongside X-rated entertainment; in March 1988 re: my survey story on porn filmmakers migrating to mainstream films due to influx of cheap shot-on-video porn; in December 1988 re: production deal with Italy's DB Media for 8 films, starring with Georgina Spelvin & Linda Blair: "Bad Blood"

Our interview took place in NYC in March 1984 anent the release of his Sean Connery feature: "Five Days One Summer"

I sat next to her (and had a memorable conversation) for a private screening in October 1987 of her classic "The Wind", sponsored by writer Peter Stone. Lillian intently literally sat on the edge of her seat, engrossed in the silent film she starred in/produced over 60 years earlier.

Interviewed in Manhattan in September 1981 about his formation (w/Chris Sievernich) of Gray City Films for production/distribution; he also described in detail the shooting of "The State of Things" and still in progress "Hammett"; he showed me a lengthy segment of latter with the original cast.

I interviewed him in December 1988 when his movie (which he also directed) "Pelle the Conqueror" was released, also covering the Danish movie he directed, "Katinka".

I covered his career from the beginning, in September 1989 regarding marketing of "Roger & Me" and we later did a phone interview (in May 1992) about his first fiction feature, starring John Candy, for my survey story on docu directors switching to fiction features

Interviewed in NYC in November 1981 re: release of "The Time Bandits' and details of planned upcoming projects "Brazil" and "Baron Munchausen".

I interviewed her (in tandem with Karen Lynn Gorney) at Sardi's in August 1982 re: her debut in Jamaica-shot "The Picnic" plus her future projects

I interviewed her (in tandem with Rita Jenrette) at Sardi's in August 1982 re: her return to the screen in Jamaica-shot "The Picnic" plus a "Saturday Night Fever" sequel & dance musical "Take a Flying Leap"

I interviewed him in tandem with his lead actor Jack Thompson in NYC in 1980 for the opening of their "Breaker Morant", and covered both their careers & future projects

I interviewed him in tandem with his director Bruce Beresford in NYC in 1980 for the opening of their "Breaker Morant", and covered both their careers & future projects

I interviewed him in NY in February 1985 concerning his dream project: a vast 8-hour plus home video release compiling lenghty excerpts from all his features plus new documentary footage he's been shooting about his career

I interviewed him at my desk at Variety alongside Bob Tapert and Bruce Campbell in 1981 on their efforts to complete "The Evil Dead" and a second time (in 1983) at a Times Square Japanese restaurant, about future projects, where he introduced me to Ethan and Joel Coen, who were then writing screenplays with him

Our first interview was in 1981 for the release of "Ms. 45"; I subsequently covered his movies through "Bad Lieutenant"; in April 1989, completing "Cat Chaser" starring Kelly McGillis & prepping his dream project "King of New York", with Christopher Walken; in July 1989 completing "King of New York", and prepping long-planned futuristic "Birds of Prey" as tv miniseries, plus 2 Zoe Lund-scripted projects: "The Last Night of Summer" -from Erskine Caldwell novel, and a John Holmes biopic; in July 1992 re: his insistence on releasing "Bad Lieutenant" in NC-17 version

I interviewed him regarding the premiere of "The Return of the Secaucus Seven" and many writing projects including "Night Skies" (never made) to be directed by Ron Cobb and produced by Spielberg

I interviewed him (in the company of his wife/production collaborator) several times, regarding his many documentary projects as well as his retrospective re-launch of his avant-garde movie "Symbiopsychotaxiplasm: Take One"

We had a memorable interview in March 1983 for the opening of his movie "Nudo di Donna" in NYC. He arrived before the interpreter, and he expressed himself with body language and limited English, later quite eloquent in translation after interviewer arrived. His critique of then-current state of Italian cinema still holds true today.

At a luncheon celebrating the wrap after a one-day shoot in NYC for "Escape from New York" on Oct. 9, 1980, I was seated with Lee Van Cleef and his wife, and spoke to him about his lengthy career. A pleasure to see the great villain of the screen as pure family man.

I interviewed him at his Manhattan home in 1980 regarding his ambitious program of issuing new albums of unreleased material from Blue Note records. He sat in front of a bookcase with shelves filled with just Blue Note lps, and I was impressed enough to acquire a complete collection of the jazz label's first-pressing records over the next couple of decades.

I interviewed Bille in September 1986 when his movie "Twist & Shout was released in America by Miramax". He proved to be an engaging personality, whose promise was realized in due time; then in October 1988 re: upcoming launch of "Pelle the Conqueror" plus major new projects inc. "The House of the Spirits"

I intereviewed Jewel by phone and once in New York over the years, covering her many B movie roles, as well as her entertaining (pre-internet) newsletter. She was especially proud of her "Scenes from the Goldmine" performance, but unfortunately the film was little-seen.

Interviewed this couple (Andy & Arlene) many times concerning their movies; in October 1985 re: release of "Mailbu Express" & prepping "Hot Ticket to Hawaii"; I advised Andy to hire Julie Strain after seeing her in a horror video, and he fortuantely took me up on it, expanding his universe from Playmates to also include a "Pet"

Interviewed in April 1989 about his NY debut of "La Lectrice" starring Miou-Miou -providing an interesting discussion of his career as an indie director in France, yielding "Dossier 51" and "Voyage en Douce" among others

Interviewed in April 1984 about his U.S. tour promoting "Romancing the Stone" and his plans for releasing here several Mexican films he directed; in June 1992 re: forming Seventh Dimension Entertainment to acquire film for Latin American distribution; also launching "Like Water for Chocolate" and prepping to direct "Regina"

Interviewed in Jan. 1982 re: release of "Shoot the Moon" and his other American projects

I did a stand-up interview with him at Museum of Modern Art a a screening of "Every Man for Himself and God Against All", and amusingly he took great exception to my comparing his work as "a perfectionist" to Kubrick -he denied that as if it was a vile accusation!

I got to speak to him at the 1989 New York Film Festival closing night, screening "The Marriage of Maria Braun", and he gave interesting details about his movies unreleased in U.S., including "Women in New York"

Interviewed (by phone) in November 1991 on her reaction to similar Alexandria Quinn scandal, and her own career progress since 1987 in feature films like "Cry Baby" and tv appearances on "Married with Children" and other series.

Interviewed in April 1988 on the release of her movie "Plain Clothes", her interest in getting to make SPFX pictures (generally signed to male directors) & her future projects inc. "Rambling Rose"

We met at a press screening in March 1988 for the Demi Moore picture "The Seventh Sign" , and had an interesting conversaton about her directing career as well as her comments on pretentious softporn filmmakers like Zalman King. Interviewed in June 1991 regarding directing her first 35mm film "Revelations", and the appeal it might have to foreign tv and domestic pay-cable markets after previous video shoots

We had 2 interviews at the Miramax office in Manhattan, regarding release of "Cinema Paradiso" and later "Everything's Fine"

I first met him in 1985 at a Miami restaurant w/ guest star Rosana DeSoto of his "Miami Vice" series; later 2 interviews, first for "Zoot Suit", then in March 1992 re: film he directed & starred in: "American Me", part of his new attempts to launch Mexican-American movies to attract a Spanish-language U.S. audience

I interviewed him in October 1985 in NYC shooting his indie production "Crocodile Dundee", when negotiations were on-going for Paramount to acquire distribution rights; the rest is hisory

I interviewed him in Brooklyn (with Charles Bronson in attendance) in May 1985 for the shooting of "Death Wish 3"; then in July 1989 on his indie Alan Ayckbourn film "A Chorus of Disapproval" production, and prepping big-budget "Bullseye"

I interviewed him at Sardi's in April 1982 for the opening of "The Long Good Friday" & a discussion of issue of thick British accents impeding American acceptance of UK movies as well as stories about working with Helen Mirren (not yet well-known in America despite her work with Lindsay Anderson and Ken Russell)

I interviewed him twice: initially about distribution of "Outland" (he was quite praiseworthy re: Ridley Scott's work on "Blade Runner" at that time) and in November 1984 on the production of "2010"

We had an imprompu chat (not an actual interview) in 1988 when she sat next to me at the tiny Quad Cinema in the Village, attending an Italian movie showcase series in Manhattan

Interviewed in September 1987 concerning his new release "Fatal Attraction" as well as past and future projects

"My first major interview for Variety newspaper took place in 1980, with Fuller recounting the production history of "The Big Red One". Oddly enough for a newbie reporter, I was given plenty of shade, called a "shell-shocked" reporter (without mentioning my name) in the Village Voice by J. Hoberman, who arrived early and sat in at the end of my interview awaiting his chance to speak to Fuller. One never forgets thoughtless ill treatment from a "colleague' like that.

Our interview occurred in August 1985 as New Line cinema prepared the U.S. release of "Phenomena", retitled "Creepers". We covered many career highlights, casting of Jennifer Connelly and his plans to complete the "Suspiria" trilogy

Several interviews, including in April 1983 re: his marketing plans for Nastassja Kinski movie "Exposed"; in 1987 at the Harvard Club we discussed his latest project, but on the way there it took forever to walk half a dozen blocks from Times Square as he almost comically tried to pick up nearly every pretty girl walking on the sidewalk en route! (living in real life the character of his "The Pickup Artist" movie); in September 1989 at John's Pizza on Bleecker St. re: his experimental documentary film "The Big Bang" -also memorable as he insisted on giving me a check to compensate my paying for our meal (including his edtor Stephanie Kempf who discussed the film's editing strategy) and natch, his check bounced!

Our interview was in NY in April 1987 when his debut film "My Life As a Dog" was set to release in America; along with Bille August he struck me as a talented representative of top new talent from Scandinavia

My interview with him was memorable in that while discussing his recent movies as director (emphasizing his tv-style 3-camera approach to shooting) he communicated his answers skillfully while seated at a desk signing contracts and other papers all the while -a true multi-tasker!

Interviewed in March 1988 about his career and latest success "Babette's Feast"; a terrific re-creation of the meal served in the film (including a no longer viable publicly course of turtle soup) was held at Petrossian restaurant with fabulous service, for the NY press contingent and later for the general public

Interviewed in March 1984 re: his indie funding for "Blame It on Rio", plus hope to return to movie musicals, hopefully w/Michael Jackson

Interviewed in NYC in October 1987 when he promoted "The Whales of August"; he turned combative when I showed enthusiasm for David Puttnam at Columbia's plan to back Euro productions

Interviewed in March 1983 re: his many film projects including "Plenty" and various sci-fi novel adaptations. He was looking for a director on his "Conan the Barbarian" sequel and I pitched him on hiring Sam Raimi, but instead Ed backed Sam directing a Coen Bros. first script for comedy "XYZ Murders" (Crime Wave)

Interviewed in NYC in February 1985 about his most recent movies "Taps" and "Vision Quest" w/interesting details like his hiring Tom Cruise as background player but expanded to featured role in "Taps" plus Sean Penn's first movie role; "Empire of the Sun' was upcoming project (pre-Spielberg)

Interviewed at Sardi's in April 1981 re: writing-directing "I, the Jury", followed soon after regarding his being replaced as director; then a phone interview on his quick comeback directing "Q"; in September 1984 re: his new movies "Blind Date", "Special Effects" and "The Stuff"; in February 1988 re: many tv & fillm projects inc. "The Apparatus"; in April 1989 re: his free week of showings of "Wicked Stepmother" in NY after MGM shelved it

Interviewed in 1981 concerning his productions "Heartbeeps" and "Cannery Row", and ambitious plan to shoot and release Asimov's Foundation trilogy back-to-back as set of 3 theatrical films; in August 1983 re: production of Matt Dillon film "Ginger Brown" plus another Asimov project "The End of Eternity"

I interviewed him for Variety regarding his frequent attempts to establish his full rights to the "Spectre" concept in the Bond Movies (being made by Broccoli and company), due to his collaboration with Ian Fleming on the first screenplay to incorporate that fictional organization

Interviewed in August 1989 re: his first 35mm film, "The Bronx War", shot on local locations

Interviewed in May 1982 re: production of "The Secret of Nimh" and his challenge to Disney

I interviewed him in June 1989 at the Mayflower Hotel near Columbus Circle concerning his plans to remake films noirs "Brute Force" and "Naked City" after acquiring rights from the Mark Hellinger Estate. During our interview, Billy Dee Williams stopped over.

I interviewed him in July 1986 for a reaction to the Meese report on pornography, with Al taking a militant First Amendment stance, ready to fight censorship; later I attended an editorial meeting at offices of his Screw magazine; he was a uniquely amusing character and famously would smoke cigars inside small screening rooms in NY during film showings

I interviewed him in 1991 regarding the release of his "Harley Davidson and the Marlboro Man"

Interviewed in 1981 at lunch at the Friars Club (in tandem with his fellow producers Gene Quintano & Marshall Lupo) re: shooting ground-breaking 3-D "Comin at Ya!" and followup interview in November 1981 re: future 3-D projects and technology

Interviewed (by phone) in April 1984 re: production of her horror film "The Oracle"; in March 1988 re: my survey story on porn filmmakers switching to directing mainstream films, as she switched to the horror genre

Interviewed (by phone) for the release of her horror pic "A Night to Dismember"

Interviewed the hun in December 1983 re: distribution of two productions: "Scandalous" and "The Razor's Edge"

Interviewed many times re: his scripts for Paul Thomas, Chuck Vincent and other top Adult movie directors; in March 1988 re: my survey of Adult filmmakers turning to mainstream projects, he explained how porn shot on videotape ended lucrative payments for writing porn scripts, and also how men's magazines became publicity extensions for the pornographers, printing favorable reviews of tapes in exchange for free chromes used as photo spreads. For my survey story in June 1991 he detailed changing budgets and return to 35mm filming.

I did a standup interview with him in NYC at a screening at a club of his famous Francine York movie, purportedly ripped off by tv's "Charley's Angels" series after York showed a tape of it for an audition to C.A.'s producer Aaron Spelling; Mikels had great stories, notably his ambitious plan to film "Beowulf" starring Arnold Schwarzenegger which would have been his first major acting film (they met working out regularly at same gym in early '70s)

A phone interview when "Escape from New York" wrapped shooting, discussing many upcoming projects including "The Thing"

I met the playwright when we were both regulars at the Tiziano restaurant in Chelsea, and had many conversations about show biz. Most memorable was his recounting his experience writing a movie (never produced) to team Barbra Streisand and Bette Midler, with Albert noting a presumably unknown fact that Bette always packed a revolver in her purse (circa 1990)

Interviewed at 1980 NYFF, he surprisingly disagreed with the auteur theory, noting his respect for collaborators including writer and producer, and also discussed upcoming ambitious projects with Coppola and shooting in Mozambique

I interviewed him in NYC anent the release of "Montenegro", which included discussion of several American productions, notably "Apocalypse Now" he had been approached to direct, but made by others instead

Interviewed in March 1982 regarding his latest releases "Mephisto" and "Confidence"

I interviewed him in September 1987 at Manhattan's Japan House, as he was promoting "Princess of the Moon" -he provided interesting info regarding working with director Kon Ichikawa