You live and die two or three times making a movie. First, you write it, and the first pivotal moment comes when you can get it made. The second is in the process of making it, when the movie reveals itself to you, its flaws and its virtues. Then the most unnerving moment is when that movie is then launched into the world. It’s like bringing your kid to the first day at school and somebody points out that it has bowlegs, it is cross-eyed, or it’s gorgeous. You feel very exposed.

I find I'm waking up really early now, just to read. Waking up at ungodly hours. But I try to keep up, religiously. When I was a kid, it used to be a book a day. Then a book a week. Now it's like a book every two weeks. But I read every day.

There's something worse than not making a movie. It's doing it for the wrong reasons. Then you end up putting three, four, five years of your life into it and you come out with a thing that you're not proud of.

If film making is magic, there's a difference between close up magic and David Copperfield. If you're doing close up magic, which independent filmmakers do, it is a very delicate craft, interpersonal relationship, and being able to enrapture a very small audience.

They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do

There are times when you are in despair, because in order not to betray who you are, you don't compromise, you don't make movies that would be very lucrative or prestigious or easily understood. And yet I stay attached to the most uncanny premises. It's never been easy.

I think there is a very quiet power in things that are not on screen