"Sluizer is a Dutch director I met in my early twenties and instantly liked and admired. Finally, in 1988, he made really good with this suffocating horror movie—so bland on the surface, so naturalistic in its acting, and yet as ghastly as any catacomb in its study of crime and perversion. When Sluizer remade the movie for Fox, the whole story lost its relentless, claustrophobic grip."

"The Shining. I’m a huge horror fan, classic horror specifically, and there’s just something about them. Carrie, The Shining, Rosemary’s Baby. They’re horrifying, and they’re definitely frightening, but they’re also elegant, and they also show patience. And they’re also discreet in certain ways. When the horror comes, they’ve set it up so that there’s more of a payoff, because what’s come before has been executed in such a way that it doesn’t feel like… You know, you watch a horror movie that’s produced today, and they’re trying to scare you or freak you out, or they’ve got cats jumping out of the cupboards in the first five minutes. There’s no gradual build-up; it’s as though they don’t trust that the audience is going to hang in there and wait for the impact coming sixty or ninety minutes into the movie. They want to give it to you in the first ten minutes, which I think is kind of shoddy storytelling, and disrespectful to the audience."

"The Shining. I’m a huge horror fan, classic horror specifically, and there’s just something about them. Carrie, The Shining, Rosemary’s Baby. They’re horrifying, and they’re definitely frightening, but they’re also elegant, and they also show patience. And they’re also discreet in certain ways. When the horror comes, they’ve set it up so that there’s more of a payoff, because what’s come before has been executed in such a way that it doesn’t feel like… You know, you watch a horror movie that’s produced today, and they’re trying to scare you or freak you out, or they’ve got cats jumping out of the cupboards in the first five minutes. There’s no gradual build-up; it’s as though they don’t trust that the audience is going to hang in there and wait for the impact coming sixty or ninety minutes into the movie. They want to give it to you in the first ten minutes, which I think is kind of shoddy storytelling, and disrespectful to the audience."