When he looks at me, the way he looks at me... He does not know, what I lack... Or - how - I am incomplete. He sees me, for what I - am, as I am. He's happy - to see me. Every time. Every day.
So I have 8 to 10 screenplays written and unproduced. And frankly, some of them are my favorite stories. I have a Western version of The Count Of Monte Cristo where the count has a clockwork hand. I have a screenplay called Mephisto's Bridge about a Faustian deal with the devil. I love them all.
I was a kid when I read Jane Eyre and fell in love with that universe. I didn't have the acumen to say the prose is old or the prose is too complex. I just fell in love with Jane's very lonely soul, much the same way I fell in love with Frankenstein's creature for the same reason. Those old souls exist in every decade in every century.
I love the entire 'Constantine' mythology, the 'Dead Man' mythology, the Alex Holland 'Swamp Thing' mythology.
If you ask me, I alternate between truly bizarre, what you would call 'Hollywood' movies and truly bizarre, what you would call 'arthouse' movies.
I think that The Eye is a particularly Americanized take on horror.
I'm a book guy first, and my education came from two encyclopedias. One was an encyclopedia of health, so I became morbidly obsessed with anatomy, and I thought I had trichinosis, an aneurism, jaundice! And then an encyclopedia of art.
I don't think that Argentinian cinema is well-known outside Argentina the way it should be.
But I think we are seeing a resurgence of the graphic ghost story like The Others, Devil's Backbone and The Sixth Sense. It is a return to more gothic atmospheric ghost storytelling.
I would have killed to do 'Beauty And The Beast' at Warners, which went away. I would have killed to do 'The Witches' at Warners that went away. God knows there are many, many of them. All I can do is diligently do the screenplay, diligently do the design work, deliver a budget, and then await a decision.
For Devil's Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.
To me, art and storytelling serve primal, spiritual functions in my daily life. Whether I'm telling a bedtime story to my kids or trying to mount a movie or write a short story or a novel, I take it very seriously.
The great thing about Roald Dahl is he tackled the big questions of life without any fear of being shocking or brutal, because he knew the kids could take it.
Mike Mignola's 'Hellboy' was influenced by Lovecraft big time. He wanted to make his monsters Lovecraftian. But I think many other films have been influenced by Lovecraft - like 'Alien,' which is almost an outer-space version of 'At The Mountains Of Madness.'
TV now, you have to plan it: you structure it for binge watching, meaning you structure the whole season like a three-act play. You have a first act - the first third of the season - second act is the middle third, and you structure it like that.
In that, Blade 2 is very much like a rock concert... if it's too loud, you're too old.
As a craftsman, I bust my butt as much for 'Blade 2' as I do for 'Devil's Backbone.'
I like John Carpenter. I like some of his films more than others.
I think when we wake up in the morning, we can choose between fear and love. Every morning. And every morning, if you choose one, that doesn't define you until the end... The way you end your story is important. It's important that we choose love over fear, because love is the answer.
I see myself as a perennial expatriate because, frankly, I don't think I fit comfortably in any conventional form of filmmaking, and I feel at the same time, depending on the project, I fit into many different ones.