From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them - electronic, but like an orchestra. And I could play it all myself. That was exciting.

I made a decision back in 1978 that, in a trade off for money when I directed Halloween, I would have my name above the title in order to basically brand these movies my own.

Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.

When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.

Way back in the '70s, I was approached to talk about the story I'd write for a Spider-Man movie. They also talked to me about Batman. I had to think about it, but that was way, way back when.

I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.