Each film I make changes me in some way. When I start the picture I'm one person and by the time I finish I'm another.
Without psychology, the horror film doesn't exist.
When I was five. That's when I started to love film.
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
The Opera was a very cold film, a hopeless and dark film, no hope, no love.
But you know, as you say, the original versions of my films are getting out there, slowly.
It's incredible that they censor films. It's sad.
The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.
I like to watch many things, especially strange films and something recent, not just the story.
I'm very interested in portraying homosexual man and woman in my films because I'm interested in their lives and their problems.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
Theres nothing gratuitous about my films.
When I see a film I've finished, it's like another person made it. Like another mind.
Films are dreams. Many, many critics say to me that my films are not good because they are too unbelievable, but this is my style. I tell stories like they are dreams. This is my imagination. For me, it would be impossible to do a film that is so precise, that resembles real life.
I wanted something new, the supernatural. The witch, the sorcerer, I love this. I love the films of the witch and sorcerers and magic, its wonderful!
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
Americans are very enthusiastic. We have a new generation of moviegoers who love great horror films. I am a very imaginative man, and for me, it's easy to speak with my dark side. I have very beautiful, interesting nightmares.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
I also don't like films that are made just to make money, no this kind of film I don't like.
'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.
Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.
I like films to have something inside, I don't mean a message, I mean something from the soul.
But no one should have the right to manipulate my films in the first place.
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