For me, the scariest thing about a serial killer is that there's somebody who lives next door to you, running power tools late into the night, and you don't know he has a refrigerator full of penises.

I was always interested in films that scar.

You can do something that walks a line, and invariably, whatever that line is, it will be crossed by people who don't know any better and want to ape the success.

My idea of professionalism is probably a lot of people's idea of obsessive.

Our Pavlovian response to movies has gotten to its lowest point ever. You look at a lot of movies that are successful and a lot of movies that studios hold up as examples and you go, 'My God, that isn't even a story. It isn't even two acts. It's eight set pieces drawn out with slow motion.' The difficulty for me was that you had to hope that people were interested in this kind of a story.

The thing I always say to any writer that I'm working with is: Just make sure that in any argument, EVERYONE is right. I want every single person arguing a righteous side of the argument. That makes interesting drama.

For me, the scariest thing about a serial killer is that there's somebody who lives next door to you, running power tools late into the night, and you don't know he has a refrigerator full of penises.