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.

Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.

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.

In my career, my movies tend to polarize critics.

People don't understand this: Ideas are important, but they're not essential. What's essential and important is the execution of the idea. Everyone has had the experience of seeing a movie and saying, "Hey! That was my idea!" Well, it doesn't mean anything that you had that idea. There's no such thing as an original concept. What's original is the way you re-use ancient concepts.