A good director is only as good as the writer they’re working with. In the worst-case scenario, a writer and a director are combative, fighting against one another to ensure that their vision remains the focal point of the film. But in better situations, where egoes are more reserved, a producer and director work hand in hand, ensuring that the movie is a combination of their goals and visions. This way, the film becomes something new entirely, a sum better than the whole of its parts.

Dan Curtis was a master of horror. “I put my nightmares on film,” said the director during an interview with The Daily Press.

Not only was Curtis talented, but he also had a passion for the horror genre that couldn’t be extinguished.

“Make ‘em good enough and horror shows will never go out of vogue,” said Curtis.

But what made Curtis truly great wasn’t his talent or even his passion; it was his ability to see greatness in others.

Curtis frequently worked with writer Richard Matheson. The two collaborated on films like The Night Stalker (1972) and the film’s sequel, The Night Strangler (1973). According to Curtis, he wasn’t even interested in joining The Night Stalker (1972), a television film, until he heard that Matheson was on board.

“I wasn’t interested in television,” said Curtis. “[I was] told the script was by Dick Matheson. That did it. I’d always wanted to work with Matheson - he’s the master of his form. He has the genius to build terror out of ordinary situations, as in Duel, for example.”

Cursit considered Matheson both a role model and a friend, and it made the duo’s work all the stronger because of it.