My films tend to be very body conscious. The body, and what it is, and what it does, and what it can do, tends to be very central in my films. And it was never a conscious thing, but I gradually realised that I was more interested in things that happen inside you mentally and physically than I was in a kind of exterior threat; which is why I think you can legitimately say that none of my films are monster movies in that sense. In fact, to a certain extent, it’s your own body that’s the monster; your own existence.
I don’t mean to get very Freudian about it, but the idea that, for example, a parent suddenly wants to destroy its own child is very frightening, because a parent is supposed to do exactly the opposite. So that kind of turn around, and the psychological reality behind it, and the potential and the possibility of it all, is the kind of horror that I’m interested in. And so it’s all very internal. And the fact that “Shivers” in Canada is called “They Came from Within” here is appropriate. “They Came from Within” instead of “from out of space” I think shows you the orientation I have when I make films.