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 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.

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.

When I was a kid, I was taken to something called Telenews in Cleveland by my best friend's father. My own father was gone by the time I was 5, I think, but this man would take us to Telenews at the end of World War II, and we'd watch all these newsreels. I'd seen real stuff. That kind of stuck in my mind.

My mother wouldn't even let me read DC Comics.

People who are kind of at the cutting edge of life and survival, and being near the nitty-gritty, like my films, and I like that.

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.