A: I was born in New York. My father was a who was a cameraman for over 30 years and my mother was a theatre producer and director. I’ve wanted to be a director since I was 8 years old. I worked in the camera department when I was 20 and directed my first film when I was 30. I’ve directed fourteen films, including “I Spit on Your Grave.”

          A: I got on board after the company secured the rights to the project. I found about it. About a year later I began pushing to do it and a year after that I was working on the first draft, giving them my thoughts. What I do with film. How I saw the film. They agreed with me, thank goodness and I got the job.

          A: I just want them to know that this is a remake, I think a lot of people are forgetting that. They’re complaining a lot about the movie, about what it is, without even having seen the original. I mostly want people to know that in taking on a remake, my main focus was to remain faithful to the original. I wanted to remain true to the original but also try and bring new audiences to see that. It’s a fine line. I hope people get that. You can’t make everyone happy. People who love the original aren’t happy. I hope people take a breath realize the task behind it. We’re not a big studio, big budget…running around spending money, having parties, laughing our ass to the box office. We worked our ass off. We had a very short amount of time on a tight schedule.

          A: I think it just goes back to what I just said. Constant hard thing to satisfy both sides on that fence. Both sides of the fans will like the outcome of this or this side of the storyline, or like what she does, or like what they do or like which direction the blood splatters. It’s a constant thing. I’ve said this in many, many interviews, and it’s a good thing. Horror fans are very passionate but difficult to satisfy. The tiniest thing on the set where you think “this is cool to shoot with” you have to take a step back and go “oh shit who else is gonna think this is cool?” You get called out for things like which way you pan the camera and you piss people off.

          A: Yeah you know. We shot somewhat in chronological order, which I insisted on. I think at the beginning even, the producers and the AD thought I was out of my mind and was impossible, especially on a low-budget film. So, we were somewhat shooting in sequence, and we shot an assault scene in her house, the first time they come into the house. We shot the scenes in sequence from point A to point B. We got through that first 9 page assault scene and we cut and I was like wow…what the camera just did, what the actors just did and it was impactful.

          A: It’s funny...I’ve told this story several times. All of the guys, Jennifer and all of the guys, except for the Sheriff character and the “Andy” character were all the first people that I wanted. I was like “wow, this is the one that I want.” I passed it down the line to the producers and such. And I got them. The other 2 we just weren’t getting the right kind of people in the casting. Then we sorta stumbled upon them. There wasn’t anyone that came across the table where I said “I wish we really had them.” It actually worked out for me as a director, the first time in my career where I was happy happy happy all the way across the board.

          A: This was a television movie for the sci-fi channel. One thing that a lot of people don’t understand that for tv movies, directors are a "gun for hire." They call your agent or your manager and they say “I have a project that starts here, here’s your script…tell us if you like it.” If you like it and something you can do with it, then you do it. You shoot it, you turn in you cut and for the most part you’re nonexistent after that point. You’re pretty much a hired hand, which for me tends to be hard to do.

          A: “Left in Darkness” was actually very fun. Steven Cannell was the producer on that. In a way, that kind of fell, a little bit, in the same category that we were just talking about. Steven is such a famous television producer that he works that way no matte what format he's working in. Yet he does trust his filmmakers. The script was what it was but creatively I was able to have a lot of fun with that, what we did with the camera. And with that type of format you’re delivering a more teen oriented supernatural horror film.

          A: Hollywood is a very fickle industry. I have a lot of things coming at me. Lot of bad things and a handful of good things. I think you’ll find that our conversation will be different after October 8th, after Hollywood sees what the audiences reaction is to it, in theatres. I could be everyone’s hero. Definitely the fact that I’ve taken the film on and it’s gotten the reaction it has, has definitely gotten the attention of a lot of people. It’s really hard in this day and age to find a good script. There’s a lot of people in the film industry and there’s a lot of crap that gets made. Once you tak on something like this you want to be very very careful. You know we're like evryone else in this business, we all have to work and pay bills and put food on the table for our families. It's a juggling act that you gotta do.

          A: Obviously overall as a filmmaker, “Raging Bull.”

          As far as genre goes and it would be top 3 anyway would be “The Exorcist.” I still think you could screen that to an audience, to a genre audience that hasn’t seen it and they would be instantly blown away.

          A: Last one I watched was actually “Last House on the Left.” It was a few months before we started this. I’ve been so tied up on this and recently my wife and I had had our first kid and we don’t get to the movies too much anymore. So, the Last House remake.

          A: Well some people do a lot of research and this fact always amaze people or cracks people up, considering how I am looked at now with “I Spit on Your Grave,” I worked on for well over a year I was a cameraman on “Pee Wee’s Playhouse.” That’s somewhere where people always go “So tell me about “Pee Wee’s Playhouse.”