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.

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.

My mother keeps things in perspective for me. She makes me realize that the acting I do and love is no more important than what one of my brothers does-he works in a shoe repair shop. If my career ever tapers off, I'll go to college.

An unexpected benefit of my career in biochemistry has been travel.

I'm sure once my career's over, when I look back when I'm older, I can maybe appreciate it a little bit more.

In Hungary, acting is a career for which one fits himself as earnestly as one studies for a degree in medicine, law, or philosophy.

I have been driven demented in my career.

The blues is something separate from what I do. They connect at certain spots, but blues is different. I wouldn't put it in with what my career has been. That would be a whole separate wing.

I wanted to be an actress. In college I was a serious feminist and very political. I was determined to get one thing out of my career and that was respect. I didn't want money. I didn't care about fame.

It could be my downfall, but I don't think it is - Hollywood is run on perception, and if you stray off the path of what you want to do with your career, it's suicide.

Those who joined us for selfish personal reasons, for a career or other motives will be the ones to leave.

Warren Beatty took an interest in my career at one point.

I knew an actor's career goes up and down and back up again. Your standing in this business can't be your whole identity; otherwise, you're doomed.

The biggest break in my career was getting into the Beatles in 1962. The second biggest break since then is getting out of them.

Sometimes you get caught up in what's going on around you. The reality is that you are just a regular person. At some point, the career will be over, the bright lights turn off. That can come back to haunt you if you're not just a regular guy.

The truth is, it's not a great career move to create a readership and then, in effect, abandon them.

I grew up wanting to make movies, and along the way I suddenly found that I had a career doing comedy.

Music is the career I'm lucky enough to get paid for, but I have other desires and passions.

I think to just single out a highlight of Elvis's career is pretty much impossible. As far as being a fan of his, a lifetime fan, there were just too many highlights.

Clearly, society has a tremendous stake in insisting on a woman's natural fitness for the career of mother: the alternatives are all too expensive.

I have probably purchased fifty 'hot tips' in my career, maybe even more. When I put them all together, I know I am a net loser.

I've spent my career trying to help people without connections understand what's going on so that they have a chance of getting a fair shake from the connected and the powerful.

If I had my career to play over, one thing I'd do differently is swing more. Those 1,200 walks I got, nobody remembers them.