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.

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

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'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.

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

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 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.