I met Richard through volunteering for the American Cinematheque, which runs the Egyptian Theatre in Hollywood. It was at an autograph show at the Burbank Hilton Hotel where they had a table set up. I made a point to go up and introduce myself and ask if he would agree to do an interview with me. He later read my writing samples and agreed to do the interview. While working on it seemed to me that without any planning beforehand, it formed the outline of an autobiography that only needed to be filled in with more details. I pitched the idea to him, he agreed, and things seemed to fall into place from there on.I think this might have gotten lost in the mix (if it was answered and I missed it, my apologies!).
I have a question for you- how did you meet Richard Anderson and what was it like working on the book with him?
It was a challenge for both of us, but in a very positive way. I was used to churning out interviews for Filmfax Magazine and others but there seemed to be something very different about this one which somehow demanded more care and respect - not that I didn't respect the others. This just seemed to be on the next level as far as writing goes. Richard was more meticulous than I was which made me impatient at times but in retrospect was very valuable. Ain't that always the way? It was like a fine wine that needed to come of age - speaking of wines before their time, we even talk about Orson Welles in several places! I can only say it was as valuable a mentoring experience as anyone could ask for. One of the most important lessons I or anyone could ever learn is to listen to what the other person is saying without trying to change them or to interject yourself - there will be times to speak later on. What a different world it would be if that could be done. I wouldn't have been asked here if at least a little bit of that had not gotten through to me.
I just want to give acknowledgment here to Visual Effects Editor Miller Drake, who was basically the editor for the book. I can only say that it would have been a different book had it not been for Miller's input, but not in a good way. Miller has worked on such films as Terminator 2, The Abyss, JFK and many others. He is also an avid 16mm film collector and has enjoyed showing Curse of the Faceless Man on movie nights at his home. I was privileged to interview Miller as well for an article that was nominated for a prestigious Rondo Hatton Classic Horror Award.