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.

You have to fight really hard for a private life, and sometimes you don't have one. It just gets to you after a while. It's tough.

From a will: And to my communist nephew Oswald, I leave the sum of 10,000 pounds - to be shared equally with his fellow Britishers.

As a filmmaker, it's about surviving and lasting. So many talented people that I've known in my life - directors and writers - just haven't made it and haven't had a chance.

It [horror genre] never dies. It just keeps getting re­invented and it always will. Horror is a universal language; we're all afraid. We're born afraid, we're all afraid of things: death, disfigurement, loss of a loved one. Everything that I'm afraid of, you're afraid of and vice versa. So everybody feels fear and suspense.

Horror is a reaction; it's not a genre. Somebody's life would have to be in danger for it [story] to be a horror story.

Directing is all about storytelling. It's not about equipment, or anything else.