I'm no longer interested in making political films. There's something old-fashioned about them. Young people now don't care for politics. It isn't present in life as it used to be. And increasingly I like films which reflect present-day reality.
I used to be able to pitch them on the basis of the zombie action, and I could hide the message inside that. Now, you can't. The moment you mention the word 'zombie,' it's got to be, 'Hey, Brad Pitt paid $400 million to do that.'
It's become very popular in contemporary films to have the twist ending.
I don't know what is in store for the movie business any better than anybody else does, but it does seem like my kind of movies are a little trickier than it used to be - or maybe a lot trickier.
It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.
The film industry is a cyclical business. Even musicals are coming back.
Audiences want to watch heroine-oriented films, and even writers are writing scripts for women. I am very happy to see this change.
I think it tends to be overused and can be a little bit gimmicky. A lot of people are using 3-D now because they feel have they have to... that will come and go and the pictures that deserve to be in 3-D will continue to be. When it's done bad, it can make you carsick.
I like L.A., but I think what's changed is that the kinds of films I do, the mid-range dramatic film, has become an endangered species.
I see an incredible abuse of close-ups in many films these days. Why is that?
The Oscars are about the dynamics of that moment, of that season. It reflects what's been going on in the world every year through the movies. And a lot of times, what's popular at the movies is popular because of what's going on in the world at that moment.
I don't know whether it's audiences or filmmakers who want characters to be likable today, but I don't think actors are afraid of their characters being unlikable.
If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.
Confusion seems to have become the vogue of European directors.
I think I've covered every other genre. The truth is, I'm a horror fan myself. When I started in this business, horror wasn't cool. But it's cool now. Horror attracts A-list talent. That wasn't the case when I started.
When I went to Sundance back in 1998, indie film was all the rage, and Miramax was throwing down five or six million dollars for several films each year. Those were the salad days of indie film, and those days are over. I'm not out there worrying too much about it.
Cinemas gained new young audiences who wanted films made for them.
I hope that we start trendsetting [with Everybody Loves Somebody], you know, like having bigger movies also include that. Because I think it'll definitely change a lot of what's going on right now.
In case you don't know this, we're not in the '90s anymore. Indie cinema does not reign.
Right now, my job is that I'm like an ambulance chaser. I've got to look for movies with white guys falling out of them.
Horror movies are here to stay, you know? It's not a fad. Even the musical has gone in and out of style from time to time. Horror movies have always been around.
I like the fact that major studios have been attempting horror films recently.
I'm a very big believer that the reason you've seen this huge surge in superheroes both on television and in film is...part of it of course is zeitgeist. There's no denying that there's a huge appetite on the part of the audience in both TV and film for these kind of adventures.
There is always a new flavor of the month, especially in film.
I don't know if there is anyone who wouldn't want to play some kind of superhero. I don't know if the world is getting sick of superhero movies or not, but I think you will endlessly have actors who are intrigued by the idea of playing a superhero.
