One of the challenges of the movie is there are no apologies or excuses.

It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'

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.

I would very much like to make Westerns. I love Westerns. I've worked on many Westerns in my youth, in Spain and here, and I love working on them.

The pedigree's pretty high. For people who are really scary movie fans, this is nirvana. If you're in the mood to get scared, just watch this every week. It'll creep you out.

I grew up in Los Angeles, and I've made movies all over the world... I've been in New York, Norway, Chicago, Pittsburgh, Philadelphia, London - I've been in all these cities, shooting away in the winter, thinking, 'People who choose to live here are insane.

I'm very lucky to have worked in the '70s. It's a different industry and distribution is in a state of flux. It's all different platforms, they're doing this video-on-demand thing and also playing the film theatrically. It's funny to me: In the States it's an arthouse movie.