I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one [film], because certainly there was all that fundamentalist guilt that came pouring back in.

I think the important thing about staying creative and staying sharp and original is not to look back too much.

Something like Nightmare On Elm Street, to me, was kind of an examination of levels of consciousness and the pain of facing the truth, and how easy it is to fall asleep, or want to fall asleep.

I think if anybody had a roll of dice with a lot of money at stake, they would not want Wes Craven and a romantic comedy.

I believe the cinema is one of our principal forms of art. It is an incredibly powerful way to tell uplifitng stories that can move people to cry with joy and inspire them to reach for the stars.

The first monster that an audience has to be scared of is the filmmaker. They have to feel in the presence of someone not confined by the normal rules of propriety and decency.

All of us have our individual curses, something that we are uncomfortable with and something that we have to deal with, like me making horror films, perhaps.