Everybody likes a kidder, but nobody lends him money.
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.
The strongest human emotion is fear. It's the essence of any good thriller that, for a little while, you believe in the boogeyman.
Fears are all psychological. Being afraid of death, loss of a loved one and disfigurement are all powered by your mind, and that's very powerful stuff.
We all question our sanity. Everyone has had an experience of loss of control of something.
Horror is always the same. It changes with the culture and changes with technology. The stories are always the same. There are just two basic stories in horror, two simple ones -- evil is outside and evil is in here [points to his heart].
Horror stories have always worked on film. It's where they work. That's where vampires and ghosts and UFOs are real. They're not particularly real in life, but they're real on the screen. It's the communal aspect of movie-watching.
I studied to be an architect. And I find tremendous similarities between building a company and the design process. Businesses have to do their planning on the fly in a fashion similar to an architect sketching.
We economists, in our classes, teach students that to some degree, price discrimination is actually a good thing; that it allows you to serve lower-income people. Take Africa, with AIDS. They could never finance what an AIDS cocktail costs here, over $10,000 a year. But if you sold it to them for $300 a year, which just barely covers cost, they could probably serve quite a few of their citizens, with World Bank help. We economists say that will be beneficial. But it's a two-tier system; yes, African people pay less than we would pay.
The descent into the depths always seems to precede the ascent.
It's kind of like, I love doing tons of different things. The only thing I hate is not being in ensembles.