LW: How did you get into filmmaking?

DML: I have been making films since I was 8 with my Super 8 camera. I don't know how to do anything else.

LW: Favorite movies?

DML: When I was 11 I saw STAR WARS. That was the film that told me that what I was doing for fun, could be a career. Other favorites include CHARLIE AND THE CHOCOLATE FACTORY, THE MUPPET MOVIE, SCHINDLER'S LIST, ALIEN, ALIENS, ET, RAIDERS...

LW: You have a pretty nice list of movies to your credits.

DML: THANKS!

LW: What do you prefer doing, 'behind the scenes', whether it be directing, producing, etc.?

DML: Directing. Period.

LW: What has been your toughest movie to shoot? Why?

DML: KILLERS. This was my second feature and I was still green. Also it was only my second film with my partner and we still didn't know how to play nice in the sandbox. The first indication was that I wanted Kim Little to star in the film. She had a long list of credits by then and is a brilliant actress...but my partner made her audition, again and again and again. 200 women later and eight hours before the shoot he finally agreed she was the best for the role...but it was emotionally draining and, in my mind unfair (we regularly cast roles to people that we've worked with and that we know from other shows - without auditioning them.). So, it started out hard and just got worse. Every shot was second guessed, every direction to an actor was contradicted from my partner. It was awful and tough. Though I made life-long friends on the shoot, and the film went on to win some major awards, it was a tough, tough shoot. My partner and I reconciled and we started a company together that is very successful. We have since learned to play nice in the sandbox.

LW: What has been the most rewarding experience as a filmmaker.

DML: Doing my own film, JANE WHITE IS SICK & TWISTED. It was outside my company because my partners didn't support making a non-genre film (they like to make money). JANE was my film. My script (the first time I directed something I wrote). My humor. My vision. The failures and the successes of that film were all mine (ok, and Kim's too). Plus I was able to direct some actors I've admired my whole life. It was awesome.

LW: You directed Scarecrow Slayer. How did that come about? Were you connected with the original or the just announced 10,000 Scarecrows?

DML: I'd like to say that I was young and needed the money, but the truth is, is that I was old and needed the money. My company helped Emmauel produce the first one. When it came time to do the second he didn't want to direct so he offered it to me. I had never done a horror film so I felt it was a challenge. I wrote the script, we got Tony Todd and the rest is history. The only bad thing to happen is that York felt the film was too dark so they pumped up the brightness before they released the film on DVD. By doing that the viewer can see every matte line, composite, digital noise, effects shot...it looks like crap. To this date I haven't finished watching the film. It's unwatchable. My suggestion is to watch the film with the brightness turned WAY down. You may still hate the movie, but at least it will look good.

LW: You also produced one of the best american cannibal films in my opinion, in Detour. Any chance of a sequel?

DML: Yes for the sequel, but I don't think that I'll be involved.

LW: What are some upcoming projects forThe Asylum? Are you going to be in the Director's Chair, or mostly producing?

DML: As the head of production for The Asylum, I'll be producing 10 films this year. In addition, I will be directing at least one film, THE BOB CLUB, and maybe another by the end of the year. These two films will be the highest budgeted films I've directed to date.