Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.

I've been lucky enough to have had the luxury of being able to make the picture I've wanted to make each time on my own terms and without compromise.

If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.

There's nothing gratuitous about my films.

I want to do what I want when I want to do it not be dictated to by audiences.

To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.

Paradise is too perfect for humanity.

My life and career is my own adventure.

The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.

Every writer, to some extent, writes about himself.

When I see a film I've finished, it's like another person made it. Like another mind.

I like films to have something inside, I don't mean a message, I mean something from the soul.

It irritated me that my fans kept wanting me to retread old ground.

I've never gone into analysis. But Freud opened a door, I know.

Maybe when I stop making movies, I'll understand my work better.

If you don't like my movies, don't watch them.

When I was a teenager, I read a lot of Poe.

But no one should have the right to manipulate my films in the first place.

Even in the former Soviet Union, they have good copies of my movies.

Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.

So I haven't thought about the critics for a long time.

I wanted to get back to my style of 20 years ago after a long period of exploring horror and fantasy themes.

I like to watch many things, especially strange films and something recent, not just the story.

I also don't like films that are made just to make money, no this kind of film I don't like.

Young girls of 13 or 12 are great actors.

In each of my characters there is a little of me. Not strictly autobiographical but a little piece of my soul.

It's incredible that they censor films. It's sad.

I'm very interested in portraying homosexual man and woman in my films because I'm interested in their lives and their problems.

But you know, as you say, the original versions of my films are getting out there, slowly.

When I was five. That's when I started to love film.

The Opera was a very cold film, a hopeless and dark film, no hope, no love.

I went through a phase where I thought nostalgia was a bad thing.

In Italy the censor is very old and there are many judges and psychiatrists who analyse you.

'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.

Each film I make changes me in some way. When I start the picture I'm one person and by the time I finish I'm another.

Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.

Films are dreams. Many, many critics say to me that my films are not good because they are too unbelievable, but this is my style. I tell stories like they are dreams. This is my imagination. For me, it would be impossible to do a film that is so precise, that resembles real life.

For a long time, censors have been cutting my works. This makes me so sad, because many times they will tell me, 'Television won't like, so we have to cut, cut, cut!'

Horror by definition is the emotion of pure revulsion. Terror of the same standard, is that of fearful anticipation.

Horror is like a serpent; always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious.

Horror is the future. And you cannot be afraid. You must push everything to the absolute limit, or else life will be boring. People will be boring. Horror is like a serpent: always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious.

I don't like landscapes. I like cities. Lots of cities. I like buildings. I like streets.

I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.

I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.

I remembered watching the film from Alfred Hitchcock, 'Dial M for Murder,' and he shot almost all of that movie in one room. There was a genius in what Hitchcock did by manipulating things in that room so that you could see the distances between things like the tables and the vases because of how he used perspective.

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

I was very young, and I was on vacation with my family, and there was a retrospective of old films, and one of them was 'The Phantom of the Opera' with Claude Rains that was in color. It was something very important for my career because I began to follow these stories that were morbid.

I'm Dario Argento, and my style is something recognizable I think by the audience.

I'm appreciated more abroad. In America, Japan... and in the United Kingdom.