You don't paint pictures to put them in your attic. You want people to look at them.

There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.

Movies cost so much that studios really try to impose their personality over yours. A lot of times, you can get swallowed up in that and end up making movies that are indistinguishable from anybody else's. One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine. But that also comes from what you choose to do and what you choose not to do. There are certain projects I could have said yes to, and I know exactly how they would have turned out: exactly the way they turned out when someone else did them.

I'm always looking for films, but the horror scripts that I get tend to be very repetitive and often not that interesting.

The dynamic is extremely similar to Gremlins and the hero is very similar, plus the small town atmosphere. It really is in a way the third Gremlins movie.

I think Pans Labyrinth is genius.

When the first movie to show the anger people have about the war is a grade Z zombie movie, that tells you all you need to know about how afraid of ruffling anyone's feathers people in the movie business are today.