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.

To survive you have to withstand the changes in the business. This business has gone through so many changes since I was young and now it is on to something else. It is all weird today, for me, because I am from the old times. You just have to keep adapting. Isn't that Darwinism? The creature that adapts to its environment survives.

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

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.

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.

Movies are pieces of film stuck together in a certain rhythm, an absolute beat, like a musical composition. The rhythm you create affects the audience.