The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, "let's get on to the Botticellis as soon as possible." I have lingered, of course.

The fact that Pinhead is a character that audiences want to watch, that women find sexy, that people have tattooed on their own bodies, I think, is perfectly extraordinary, and I'm incredibly pleased about it. I don't think an analysis of what he does in the movies ever completely illuminates the charm that the guy has.

One of the reasons why I don't get on with most fantasy writing - enchanted sword fantasy writing - is because I think it's emotionally untrue. People behave in very simple ways, unparadoxical ways. What I'm trying to do is bring into fantasy - as I hope I've been able to bring to horror - a certain kind of emotional realism. People have mentioned sex as being a major part of my fiction. An awful lot of horror fiction simply never contained that kind of material. Which seems to me to be extraordinary because most horror fiction is about the body in some way or other, and therefore it should be about sensuality and eroticism every bit as much as it's about corruption.

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Movies are much more fascist than books. They tell you what to feel, when to feel it. Popular movies manipulate you. Music tells you when it's a sad part and when it's a happy part. You're obliged to watch them at the speed the filmmaker has created for you. That, I think, is one of the reasons why they're so popular - because you don't have to think very hard. The filmmaker has done all the thinking for you.

I was a weird little kid. I was very irritable, bored, frustrated. I felt my imagination bubbling inside my head without having any way to express itself. Given a crayon and paper, I would not draw a train or a house. I would draw these monsters, beasts and demons.

If we have nothing to do but service our own pleasure – because society has taught us that's all we're worth and we're exiled from positions of authority from which we could actually shape society – then we just become hedonists. Eventually, despite how great it may look on Saturday night, come Monday morning there's just purposelessness.

Flesh is our indisputable commonality. Whatever our race, our religion, our politics we are faced every morning with the fact of our bodies. Their frailties, their demands, their desires. And yet the erotic appetites that spring from - and are expressed through - those bodies, are so often a source of bitter dissension and division. Acts that offer a glimpse of transcendence to one group are condemned by another. We are pressured from every side - by peers, by church, by state - to accept the consensual definition of taboo; though so often what excites our imaginations most is the violation of taboo.

By and large, horror fiction is the most difficult to domesticate because part of the point is that it's one step ahead – or behind – everybody else's taste. And I'm not really convinced I'd like it to change. There's something very healthy about horror fiction being always a little bit on the outside. It's the wild-dog genre.