I did collect it back when I was a hardcore collector in the late ’80s, early ’90s. And I was a big fan of the show when I was a kid
because they would sometimes run it back to back with Batman which I always watched when I was a kid. But they didn’t have a lot of
episodes. They only had one year worth of episodes, where Batman I think had two and a half years. So you didn’t see a lot of Green
Hornet. You didn’t see as much Green Hornet as you did Batman. But yeah, I always kind of dug him. I remember liking it so much more as a
kid. I re-watched all those shows recently and with the exception of those guys in the mask and Bruce Lee kicking ass, the rest of it is
kind of boring. It’s always them after mobsters and racketeers. They didn’t have very colorful villains like the Batman stable. But I was
always kind of a fan.

What villain would be more interesting in the film?
I’ve got to create one for him. I’ve got to give him a villain, at least in this one, because having him go after gyp artists doesn’t
really make for a big action movie. If you listen to the old radio shows, that’s what he’s always doing is going after mobsters, racketeers
and gyp artists. There was one radio show I listened to where he’s going after an insurance scam racket, and it’s like why do you have to
put on a mask to do that?

How are you preparing for big action scenes?

I will definitely have to do storyboards. It just requires more diligence than I’m used to putting in when I’m actually working on a flick because generally I’m just totally shooting dialogue, right? And it’s usually two people talking, so you don’t have to be that visually interesting. This time around, in Jersey Girl, thanks to Vilmos Zsimond, we’ve got a good looking movie about people talking to one another. But with Green Hornet, you’ve got to build in whole action sequences where it has nothing to do with dialogue, it’s all about eye candy. So for me, even on the few action sequences we’ve had in, say, Dogma or Jay and Silent Bob Strike Back are always the most painful for me to shoot because it’s boring. It’s really boring. You work your whole day and get two seconds of usable film, two seconds of actual movie time. I’m used to getting like seven pages of dialogue done in a day. So it’s just a matter of rewiring the brain and just being like all right, we’ll work many long hours to get a few seconds of film, but we’ll make it a really interesting, really fun looking film.