Some people think that horror films are some sort of second class filmmaking, and the only way to bypass that thinking is being proud of the fact that we do it.
All I've ever wanted to do is darken the day and brighten the night.
Though I respect hugely the effort and the care and the beauty of games, I want to be working with people who want to create the 'War & Peace' of games, the 'Citizen Kane' of games, and not just be warming up George Romero.
I'm a gay man, living an out life for a long time, and it's tiring and anger-making to hear people continue to spit out the same old dreary cliches about the fact that gay men are doing something unnatural, and there'll be a price to pay when the Rapture happens.
There was supposedly no point showing 'Nightbreed' to critics because the people who see these movies don't read reviews, in brackets, even if they can read at all! Immediately it was disqualified from serious criticism. Therefore, it had to be sold to the lowest common denominator.
Neil Gaiman is a star. He constructs stories like some demented cook might make a wedding cake, building layer upon layer, including all kinds of sweet and sour in the mix.
I remember when I watched 'Hellraiser' with my mother. She cried when she saw my name in the opening credits, and I had to tell her that that was the happiest she was going to be for the next two hours.
The 'Hellraiser' situation was pretty darn wonderful and very unusual. Nor did I understand how radically unusual the thesis of 'Nightbreed' was.
For a writer, and particularly a writer of my genre, which is the fantastical, I think that it's to my advantage to feel remote from and disconnected from the world of deal making.
I love the idea of stories being about great beginnings and terrible endings.
As for theatre, there's ups and downs to everything. Theatre is ephemeral. But that is part of its charm because you can always say the production was better than it was.
I say 'spectacle' rather than 'story' because in the end, it isn't the intricacies of narrative that draw us to horror films. When it's there, I'm grateful for the director's skill at telling an exquisitely nuanced tale filled with psychological insight, but it is the spectacles that I take home with me.
My grandfather was a ship's cook, and he came back from the Far East very often with strange little toys. One of the things he brought back was a puzzle box, which obsessed me for a long time.
Pinhead needed to say goodbye. He had a farewell speech to make. It was truly as simple as that.
When I was looking for financing while making 'Hellraiser,' I wish there was a studio like Project Greenlight Digital Studios behind me.
I wanted to fold into the 'Hellraiser' narrative something about the guy - the Frenchman Lemarchand - who made the mysterious box, which raises Pinhead. I figured, 'Well, what would have happened to him?' He might well have been taken to Devil's Island, and I thought that would be a pretty cool place to start the movie.
The thought of making a movie in which the monsters were the good guys was just financial suicide.
'The Scarlet Gospels' does, by general consensus, seem to mark a new high - or low, depending on your point of view - in its excessiveness, in its extremities.
One of the things I'm trying to do over and over again in my books is create new mythologies, create new ways to understand the complexity of the world. I think what mythology does is impress upon chaotic experience the patterns, hierarchies and shapes which allow us to interpret the chaos and make fresh sense of it.
There's a lot of art and comics and movies being paid homage to by game designers.
