What happens to me is that I am first and foremost a film geek.
America is old tobacco: gold and green. It's lush and literally feels like wealth, like optimism, turn of the century America where everything was blooming.
When you shoot in America, you have huge beams of sunlight in the windows, very vivid sunlight - it's faster in a way.
I really wanted the house to be a character. And I knew, I said, I'll produce that one, but if I direct it, I need to build a house.
I started when I was eight, doing super 8 films
When I stage a violent scene, I try for it to serve a purpose. I do love those things, the makeup effects. But I love them more with the monsters. I never was much of a gore guy. I've always enjoyed just creating monsters.
I think there is a very quiet power in things that are not on screen
They're getting more and more experience on what to expect, and the Hellboy audience is such a faithful and fanatic audience as I am, and you have to really be very open about what you do
For Devil's Backbone I loved it but I felt very pressured but so I was neurotic on the shoot.
What is fantastic for me is that the Romantic movement comes out as a counter balance to everything that has been accumulating since the Age of Reason. I think the downfall of imagination as a genre or as a perception starts with the Age of Reason, which says everything else that came before us, all those superstitions, all those myths, are childish.
