I Love The Fact That A Lot

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.

I Love The Fact That A Lot Of My Audience Is People From The Inner City. African-americans Love My Films. Whenever I Go To Have A Meeting At Universal, The Security Guard Just Leaps To His Feet And Comes Over, Bumps My Hand, And Says, "thank You! Thank You, I Love Your Films!" And It's People Who Are Kind Of At The Cutting Edge Of Life And Survival, And Being Near The Nitty-gritty, Who Like My Films, And I Like That.

I've Done A Few Interviews Where I Realized That 9/11 Was The Ultimate Home Invasion, Not To Be Glib About It. You Know, Where The Place That You Think Is Safe And The People That You Think Are Safe And Far From Evil Are Suddenly Just Slaughtered By It, And You Have No Control Over It.

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.

I Came To Terms With Living Mostly In A World Of Horror Pictures Or Genre Pictures. I Have Had A Few Chances To Get Outside And Do Something Different, Like Paris, Je T'aime Or Music Of The Heart, But Mostly It's Been My Lot. And To Have Created, With A Few Shocking Films, An Awareness Or A Perception Of Me As Somebody Dangerous And Scary - That Can Be Sold, But Trying To Sell Me For Some Other Kind Of Picture, Like Music Of The Heart, Was Very Difficult.