"Yeah, and The Island of Lost Souls is amazing, from 1932 with Charles Laughton as Dr. Moreau. That movie is amazing. That movie’s dark. For anyone who hasn’t seen it, the extras — I mean, even now you watch like, this is really disturbing. The extras are supposed to be the half-man/half-animal people. You can tell they got really bizarre-looking extras before they did the makeup, and everybody looks like they’re deformed and f—ed up. Again, Lugosi plays the leader of the beast men. He’s not in it a lot, but of course he has the line that everybody remembers about the House of Pain: “He who breaks the law goes back to the House of Pain.” He’s in the movie for five minutes and steals the movie. Charles Laughton is incredible. But it’s demented again. The basic premise is a crazy one. They have the beast men and they’re being operated on and just screaming. It’s like, “This is not fun.” You have little kids running out of the theater in tears, or adults. It’s amazing. Still amazing. The cinematography’s amazing. Everything about it is just incredible."

"I was twenty years old when I first saw it. It terrified me then, and still does.
 The preacher, played by Robert Mitchum, is the most frightening
 psychopath I’ve ever seen depicted. This is the only film directed by Charles Laughton, and its haunting, over-the-top storytelling is reminiscent of Laughton’s own character portrayals. The poetic, expressionistic images are by Stanley Cortez, a true American master who I fortunately came to know many years before his death. Stanley photographed, among others, The Magnificent Ambersons and The Three Faces of Eve, in which his lighting is equally unique. The disturbing orchestral score is by Walter Schumann, who also wrote the Dragnet theme and whose music underlines and drives the horror the way Bernard Herrmann’s does in Psycho. This is one of James Agee’s rare screenplays—another was The African Queen—and it captures America in the Depression as
 well as did his book, Let Us Now Praise Famous Men, with photographs by Walker Evans. The film’s story is an American equivalent of the Brothers Grimm."