Once I got over the fear of writing female characters, it actually came quite easily and I was really happy with it. I just thought about girls I knew really, really well and I'd just have conversations with them and tried to relay how they talk about certain things.

Sometimes you have this tragedy which turns into an incredible opportunity.

Even post-WWII, nobody talked about the Holocaust. It wasn't until the '50s that people started talking about it.

Everybody has to know where they're coming from, what they're doing, why they're doing it, who they are. These are essentials.

I never put out a vanilla edition of a DVD.

The point of the first one was that it was about guys being lured by sex and the stereotypes... I always say it's like a horror version of Borat. Borat's not an accurate depiction of Khazakstan, it's an accurate depiction of America. That's what Hostel is.

You'd be lucky to get tortured to death in one of my films. It's the best thing that could happen to your career. But I'm very aware that as soon as you put women in this situation, all of a sudden people are like: "Wow, well wait a second!" Immediately, people become very sensitive to it.