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.

I think the important thing about staying creative and staying sharp and original is not to look back too much.

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.

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.

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.

I have a lot of fans who are people of color. I think, if nothing else, I kind of understand that sense of being on the outside looking in, culturally.

I think that there has been a slow recognition that there's a mind at work here, and there's a skill and some bit of artistry, and that I could probably do other things. Otherwise, I don't know that I would've been given the opportunity to do Paris, Je T'Aime.