I actually thought that the idea of doing a World War II movie in the guise of a spaghetti western would just be an interesting way to tackle it. Just even the way that the spaghetti westerns tackled the history of the Old West, I thought it could be a neat thing to do that with World War II, but just as opposed to using cowboy iconography, using World War II iconography as kind of the jumping-off point.

I mean, there's an aspect I've always said that is - it's, you know, it's not poetry but it's kind of like it. It's not song lyrics but it's kind of like song lyrics. It's not rap but it's kind of like rap. And it's not stand-up comedy but it is kind of like stand-up comedy. It's all those things together.

I wasn't a predator. I didn't pick on other people all right, but people didn't beat me up.

To call Clive Barker a 'horror novelist' would be like calling the Beatles a 'garage band'... He is the great imaginer of our time. He knows not only our greatest fears, but also what delights us, what turns us on, and what is truly holy in the world. Haunting, bizarre, beautiful.

If I'm doing my job right, then I'm not writing the dialogue; the characters are saying the dialogue, and I'm just jotting it down.

I'm a human being with a conscience, and when I see murder, I cannot stand by, and I have to call the murdered the murdered, and I have to call the murderers the murderers.

I found this really fantastic used record store in Japan, and I bought all these different records and different 45s, and one of the 45s was just, it had the theme, "Green Leaves of Summer," the theme to "The Alamo" on one side, and then on the flip side was a theme to, the theme to "The Magnificent Seven."