Horror audiences don't need to see some TV actor they're familiar with.

If I don't come home covered head to toe in fake blood then I haven't done my job as a horror director.

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 think you should make movies as long as the story dictates.

Quentin Tarantino assistant called me and said: "I have good news and bad news. The good news is you got the part, the bad news is you have to do it." I was like: "Oh Jesus, when am I supposed to do this?" I was prepping Hostel.

Creative writing and shooting are muscles that atrophy. But when you work them, you become a self-generator who can branch out.

I love movies that are just straight-up exploitation, but the ones that endure and the ones that last are the ones where the filmmakers put in that extra level of thought; after 25 years you put them on in front of an audience, and they'll respond to it and enjoy it.