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 think the important thing about staying creative and staying sharp and original is not to look back too much, and to kind of look to where your vision is going now. But I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one, because certainly there was all that fundamentalist guilt that came pouring back in. Feeling like I'd done something horrible, "I'm a despicable person and I'm perverse," and all these things, to a sense of the power and the necessity, in a sense, of horror films and dealing with dark material.

As long as you keep the audience on the edge of their seats, either scare them or keep them guessing, you can put anything in there that you want.

I like to address the fears of my culture. I believe it`s good to face the enemy, for the enemy is fear.

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.

I've found that if you have two films that don't perform well it doesn't matter that you've had a bunch of successful ones. The phone stops ringing, and after Deadly Blessing and Swamp Thing that's what happened.

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.