If you put yourself in a group of people you cannot work with it's obviously going to be a disaster.

I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.

Everybody's a mad scientist, and life is their lab. We're all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.

When you're in the muck, you can only see muck. If you somehow manage to float above it, you still see the muck, but you see it from a different perspective. And you see other things, too. That's the consolation of philosophy.

At a certain point the audience shouldn't worry about catching every word and understanding every twist and turn, because at a certain point that's pretty much impossible.

The filmmaking process is a very personal one to me, I mean it really is a personal kind of communication. It's not as though its a study of fear or any of that stuff.

I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.