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.

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

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.

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.

The experience of going to a theater and seeing a movie with a lot of people is still part of the transformational power of the film, and it's equivalent to the old shaman telling a story by the campfire to a bunch of people. That is a remarkable thing, if you scream and everyone else in the audience screams, you realize that your fears are not just within yourself, they're in other people as well, and that's strangely releasing.