I Like To Address The Fears Of

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. 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 Don't Want To Rescind American Directors But I Think That European Directors In General, Because Of The Size Of The Nations In Europe Are Exposed To All Different Cultures, They Can Easily Travel From One Distinct Culture To Another In A Matter Of Hours - You Can Drive For Two Weeks Across The United States And You're In The Same Basic Culture - So There Is A Certain Breadth Of Understanding And Sophistication That They Bring To It And Frankly, In Some Cases They Are Less Expensive Than American Directors.

I Believe The Cinema Is One Of Our Principal Forms Of Art. It Is An Incredibly Powerful Way To Tell Uplifitng Stories That Can Move People To Cry With Joy And Inspire Them To Reach For The Stars.

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.