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

Many, many things are dangerous in our world, commercials and TV are dangerous, and so is the world of sitcoms. But nobody does anything about them because they're turning in alot of money.

I came from a very strict background. [So if you want to make a scary movie] if you were raised as a fundamentalist, just pull all the skeletons out of your closet.

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 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.

I realized that I really, almost by accident, had fallen into a labyrinthine, very powerful paradigm for dealing with these things through genre films. And once I realized that and realized the power of it, and the fact that because horror films aren't, in general, studio products - studios back them sometimes, but they don't try to meddle too much, because they kind of don't want to sully their skirts - you have a lot of freedom.

There's more emphasis on art and culture in Europe than there is in the United States and I think that a lot of American directors and writers are just trying to copy other American horror films, they don't pick up much in the way that European filmmakers do.