I have always loved you.

What's interesting as a director, and even studio executives don't understand this, is that if you're directing a $200 million movie with six million people, it's the same as directing a $25,000 movie with three people. The director's job is, "You stand there and do that," or "This is the shot I want." The logistics change, but the job remains the same. And I enjoy the job.

After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.

The field (of filmmaking) is suddenly sexy, ... so it's deluged with these wannabes who say 'I don't want to be a secret agent, I'll be a filmmaker.' I think a lot of people are really kind of naive.

The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.

For some reason, people think of me as someone who can do anything I want. And I'm not. You know, I need someone to put up the money.

But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.