If You're In A Theater, People Are

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.

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 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.

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.

I Wrote, I Think, Half A Dozen Films That Were Completely Out Of Genre. Comedies, Love Stories, Even One Serious Film About Vietnam, And We Couldn't Get Backing For Any Of It. And We Both Sort Of Drifted From Making, At That Time, Serious Money On Last House To Going Through It All In The Course Of Almost Three Years And Only Getting Offers To Do Something Scary Again.