There are a lot of period movies where they say, 'This is a portrait of Lady Whatever.' And it's done in like a 1950s or 60s style.

I think that during the shoot, you should never be there, unless something goes really wrong and as producer, you're responsible. The sign you did your job right is if you are not there.

I think Hollywood has a habit of developing 100 times more than they actually shoot.

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.

When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight - it's faster in a way.

For horror to work, you have to be afraid. You have to keep the monster in a black and white light.

At some point, in order to gain his identity, the kid goes "I'm not my dad" or "I'm not my mom."