I have "fat-guy syndrome." If they give me $50 million to make a movie, I'll try to make it look like it cost a hundred. If they give me $60 million, I'll try to make it look like it cost $120.

In the medieval tradition, Beksinski seems to believe art to be a forewarning about the fragility of the flesh– whatever pleasures we know are doomed to perish– thus, his paintings manage to evoke at once the process of decay and the ongoing struggle for life. They hold within them a secret poetry, stained with blood and rust.

Night is real. Night is not an absence of light, but in fact, it is daytime that is a brief respite from the looming darkness.

There are men who bloom in chaos. You call them heroes or villains, depending on which side wins the war, but until the battle call they are but normal men who long for action, who lust for the opportunity to throw off the routine of their normal lives like a cocoon and come into their own. They sense a destiny larger than themselves, but only when structures collapse around them do these men become warriors.

I see horror as part of legitimate film. I don't see it as an independent genre that has nothing to do with cinema.

You only find yourself when you disobey. Disobedience is the beginning of responsibility, I think.

The only thing you can do as an artist is to come to the world, see what no one is doing, and leave behind one or two things that wouldn’t have happened without you.