All sizes of film sets have the same level of excitement and friction and tension and then vast sections of boredom that define the process, so I love it all.

You can argue that the Terminator movies reboot their world each time they go back in time, but that doesn't negate the value of Terminator 1 and 2. So I don't really feel that way.

On the lower budget pictures, you go overtime more, you're sort of scrambling for the shots and cobbling together more ideas at the end.

Zombies - obviously they're doing it in a much more expansive way on The Walking Dead - basically, what you used to do is you put a bunch of goo on an actor and have them shamble towards you, and it's a very effective creature. It always has tremendous impact, just that feeling of death coming for you that's universally accepted.

When a horror movie is well done, I love it and I put it up in esteem with any other genre.

I think American Werewolf in London is the greatest werewolf movie of all time.

When I was a kid I was really into horror films. I watched every single horror film that came out in the 80s.

It's important to continue to change and evolve in the way that the comics change and evolve.

If you can get an audience to identify themselves with a character, they will subconsciously feel that their own lives are in danger. People tend to pay attention in situations like that. I think fear is the easiest, and most visceral, emotion to activate in an audience.

Number one rule in Hollywood is to maintain relationships with successful people, and you may find yourself involved in some very cool projects.

Now that I'm a professional writer it's a little more difficult to enjoy a movie if it's not well done and a lot of the horror movies are not great, but when something's really good, like I really loved The Conjuring. That just scared the bejesus out of me.