My life is a suitcase. I am the traveling Mexican.

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

...to all the monsters in my nursery: May you never leave me alone.

I always thought what if you took a myth of childhood like the tooth fairy and made it a central scary thing. We did it on Hellboy and we did it on 'Don't be afraid of the dark'.

When I see a short schedule, my question to the director is, are you really comfortable with this, or are you doing it to be a good boy? At the end, you only win the medal if the film is good, you don't win a medal if the movie is on time.

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 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.