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.

It's quite rare that you make something and think that you did something that no-one else had done.

Dad, girls don't fall down every time they run.

I love the fact that a lot of my audience is people from the inner city. African-Americans love my films.

I wrote, I think, half a dozen films that were completely out of genre. Comedies, love stories, even one serious film about Vietnam, and we couldn't get backing for any of it. And we both sort of drifted from making, at that time, serious money on Last House to going through it all in the course of almost three years and only getting offers to do something scary again.

But I made him the Deputy Secretary for Homeland Security because that added an element of political espionage.

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.