When I'm filming a kill scene [as a director], I just get happier and happier as we chop up body parts.

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.

The scariest people are usually the sweetest.

It's just assumed that a horror sequel is going to be bad. It's never going to be as good as the first one.

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 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.

I like movies like 'Mother's Day', where you watch it, and you've liked it for years as a horror movie.