I see myself as the world's oldest living teenager. . . I try to get as much kick out of things as possible.
Horror is a reaction; it's not a genre. Somebody's life would have to be in danger for it [story] to be a horror story.
The strongest human emotion is fear. It's the essence of any good thriller that, for a little while, you believe in the boogeyman.
Fears are all psychological. Being afraid of death, loss of a loved one and disfigurement are all powered by your mind, and that's very powerful stuff.
We all question our sanity. Everyone has had an experience of loss of control of something.
Horror is always the same. It changes with the culture and changes with technology. The stories are always the same. There are just two basic stories in horror, two simple ones -- evil is outside and evil is in here [points to his heart].
Horror stories have always worked on film. It's where they work. That's where vampires and ghosts and UFOs are real. They're not particularly real in life, but they're real on the screen. It's the communal aspect of movie-watching.
As far as my diet goes, I eat what I want. But I think about it. So, if I eat hamburgers and hot dogs for two days straight, then I'll take another two days and then do salads and fish.
The neural processes underlying that which we call creativity have nothing to do with rationality. That is to say, if we look at how the brain generates creativity, we will see that it is not a rational process at all; creativity is not born out of reasoning.
The biggest laugh has to come at the end.
In general, in America, every discourse in literature in 15 minutes degenerates into a conversation about ethics, morality and this and that. The Holocaust and the consequences of it. Well, I find it terribly boring, predictable and unimportant, because what matters about literature is esthetic achievement.