So I think it’s like equal opportunity, you know, either for love, violence, hate, anger, fear, all of those things.
Snyder: I think that Ken was brought on later. They didn’t start filming until Ken was on board, if my memory serves me.
CS: Night School has a very Italian Giallo feel – the police procedural, the black gloves and Rachel Ward’s costuming etc – was this Ken Hughes’s intention?
We did rewrites and stuff like that, so I think he had kind of a really open, free hand with it.