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.

What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.

A lot of it [success] is luck. That's a huge part of it that no one wants to talk about. You just got to be in the right place at the right time.

It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.

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.

I stopped directing in 2001 for - oh, damn - four or five years, until I did the TV series 'Masters Of Horror.' I had been working steadily as a director since 1970. That's a long time. I was burned out.

Child pornography is taboo. There are really no such things as snuff films. That's a legend. But movies are like pieces of dreams, and we don't need to go into those dreams. Those dreams are beyond. Child pornography - it's horrible. Human suffering is a horrible thing in real life.