A collection of masks, depicting historical figures in life and what I like to call the eternal repose.

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'm having a reputation of being somebody who will not be crazy. Not descend to doing drugs and spending an enormous amount of money, and instead delivering a product to people. Something they can sell and recoup their money and make a profit.

I love the fact that a lot of my audience is people from the inner city. African-Americans love my films. Whenever I go to have a meeting at Universal, the security guard just leaps to his feet and comes over, bumps my hand, and says, "Thank you! Thank you, I love your films!" And it's people who are kind of at the cutting edge of life and survival, and being near the nitty-gritty, who like my films, and I like that.

If you're in a theater, people are texting, all around you. You have the little glowing screens everywhere. Think of how annoying that can be.

I wasn't allowed to see movies when I was a child. It was against the religion I was raised in, Fundamentalist Baptist. I didn't go into a commercial movie house until I was a senior in college, and that was on the sly. It wasn't until I was in graduate school that I immersed myself in films. Then, I went to see all the films by Bergman, Fellini, etc.

I came to terms with living mostly in a world of horror pictures or genre pictures.