In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the US, I'm a bum.

Evil hiding among us is an ancient theme.

One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.

What scares me is what scares you. We're all afraid of the same things. That's why horror is such a powerful genre. All you have to do is ask yourself what frightens you and you'll know what frightens me.

In Halloween, I viewed the characters as simply normal teenagers. Laurie, Jamie Lee's character, was shy and somewhat repressed. And Michael Myers, the killer, is definitely repressed. They have certain similarities.

In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the US, I'm a bum.

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.

To make Michael Myers frightening, I had him walk like a man, not a monster.

I made a decision back in 1978 that, in a trade off for money when I directed Halloween, I would have my name above the title in order to basically brand these movies my own.

Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

First of all, I was a wrestling fan when I was young. Even when I figured out what wrestling was, I was still a fan.

I can play just about any keyboard but I can't read or write a note.

I don't want to be a part of the demographics. I want to be an individual. I wear each of my films as a badge of pride. That's why I cherish all my bad reviews. If the critics start liking my movies, then I'm in deep trouble.

I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.

I enjoyed 'The Avengers.' I couldn't do that kind of movie though. Superheroes aren't my deal.

I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.

I love making movies.

I stopped directing in 2001 for four or five years, until I did the TV series 'Masters Of Horror.' I had been working steadily as a director since 1970. That's a long time. I was burned out.

I think there are certain subjects I don't want to tackle, that I don't think I could do a good job with. I don't think I'd be good with... broad comedy? I don't know. Maybe I would.

I've gone through various periods with superheroes. They work in the right hands, but they don't work in other hands. It's tricky. But any movie is tricky. It's impossible to say, 'This is what you do in any situation.'

One of my heroes is a composer named James Bernard, and oh my God... I can still listen to his music today and be stirred and moved by it. But I think that you fall in love with... Well, again, when you're young, it really is more powerful. Much more terrifying.

There are a lot of movies that I don't care about, especially not remakes.

There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.

Way back in the '70s, I was approached to talk about the story I'd write for a Spider-Man movie. They also talked to me about Batman. I had to think about it, but that was way, way back when.

Well, 'They Live' was a primal scream against Reaganism of the '80s. And the '80s never went away. They're still with us. That's what makes 'They Live' look so fresh - it's a document of greed and insanity. It's about life in the United States then and now. If anything, things have gotten worse.

When I was a kid, I loved 'The Curse of Frankenstein,' 'The Creeping Unknown,' 'X: The Unknown.' I love 'Forbidden Planet,' 'The Thing from Another World.' They were science fiction/horror movies, generally.

When somebody who makes movies for a living - either as an actor, writer, producer or director - lives to be a certain age, you have to admire them. It is an act of courage to make a film - a courage for which you are not prepared in the rest of life. It is very hard and very destructive. But we do it because we love it.

You have to fight really hard for a private life, and sometimes you don't have one. It just gets to you after a while. It's tough.

It is too maddening. I've got to fly off, right now, to some devilish navy yard, three hours in a seasick steamer, and after being heartily sick, I'll have to speak three times, and then I'll be sick coming home. Still, who would not be sick for England?

The people of England are the most enthusiastic in the world.

And it was only released in London last week, so when I go back to England Monday or whatever, I am expecting heaps of adulation. I'm hoping there is. If that doesn't happen I will be disappointed.

I've got a farm in England where I breed horses.

For me, the great problem growing up in England was that I had a very narrow concept of what God can be, and it was damn close to an old man with a beard.

I love England and the historical aspect of it.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

As regards this country, in which protection has always to some extent existed, it is the best customer that England ever had, and our demands upon her grow most steadily and regularly under protection.

In England we have come to rely upon a comfortable time-lag of fifty years or a century intervening between the perception that something ought to be done and a serious attempt to do it.

I look a hundred and weigh 110 - you won't love me when you see the wreck England has made me.

Churchill knew the importance of peace, and he also knew the price of it. Churchill finally got his voice, of course. He stressed strategy, but it was his voice that armed England at last with the old-fashioned moral concepts of honor and duty, justice and mercy.

In general, science journalism concerns itself with what has been published in a handful of peer-reviewed journals - Nature, Cell, The New England Journal of Medicine - which set the agenda.

Watch MTV and you can see what the music scene is like in England. The Spice Girls? Not a lot of creativity in the commercial area. There are still great musicians in England, but not a lot being heard that much.

Never had there been such an attempt to make conquest the servant of civilization. About keeping India there is no question. England has a real duty there.

Farming implements are as cheap in Sydney as in England.

Johnny Rotten. He's a big fan of mine. I used to see him out in the audience in England and he'd stand up and holler. He's funny. Smart too, and a nice guy. Don't think he's a jerk because he isn't.

I was a star in England, but I've never been a star in America. Now I am.

I grew up in the early '70s in New England.

I came back out here from England and I was there for a while and it was beautiful and it is just great to see London going from Spring to Summer and Autumn.

Here in England we live at a slower pace, have more time to enjoy things - like good jazz.

Time passed by. I had furnished steam hammers to the principal foundries in England. I had sent them abroad, even to Russia. At length it became known to the Lords of the Admiralty that a new power in forging had been introduced.