I don't want people to feel: "Why am I watching this? It's sick and sadistic." I want people to watch and think it's scary but they can't wait to see what happens next. I also wanted to make a movie that was watchable.

One of the great elements of the supernatural is having that mystery and letting people's imaginations run wild with it.

Pulp Fiction won the Palme d'Or and people said: "Wait a minute, he's actually smart and he knows what he's doing!" I feel that with Hostel, any time you make a film like that it's going to illicit a strong reaction and you can't worry about that.

I started the film [Hostel Part II]with the girls in an art class and there's a nude male model. People think that women are objectified, well here you go! Here's a man being objectivized but now it's under the guise of art.

I'm from Boston, and in Boston, you are born with a baseball bat in your hand. And actually, most of the bats in Massachusetts are used off the field instead of on the field, and we all had baseball bats in our cars in high school.

People want to be disturbed when they go see a horror movie.

I generally follow my own compass and make films about what's scaring me.