It’s funny, I can sit through the worst horror film ever made! But even a quite good romantic comedy.
When I think of 'Nightmare on Elm Street,' there was a warmth to those teenagers that I related to. They were not aware that they were in the middle of a horror film, and I really loved those characters and I empathized with them.
I think that horror films have a very direct relationship to the time in which they're made. The films that really strike a film with the public are very often reflecting something that everyone, consciously or unconsciously feeling - atomic age, post 9-11, post Iraq war; it's hard to predict what people are going to be afraid of.
Rob [Tapert], myself and Bruce Campbell sat in hundreds of drive-insnot hundreds, but tens of drive-ins, watching these movies and learning how they were made, and we started to make our own in Super 8. And that’s really how we got into horror films. After a while we learned to really like them, and the craft that went into them.
Nico was gothic, but she was Mary Shelley gothic to everyone else's Hammer horror film gothic. They both did Frankenstein, but Nico's was real.
A really good horror film has a story.
In all the horror films that I have done, all of those women were strong women. I don't feel I ever played the victim, although I was always in jeopardy.
Ever since Poltergeist terrified me when I was 12, I can't watch horror films, I'm a real wuss.
I do know that I've read somewhere that it's been statistically proven that in times of war, horror films are much more popular. I don't know why that is. You'd think it'd be the opposite. You'd think people would want to escape from it.
I think that the episodes are like mini horror films really; the characters make bad decisions early on and these things just snowball for them and get worse and worse. And that's what I find funny.
I had never really done something that was more of a horror film, and its funny, because those are the kind of movies that I like probably more than any other genre. The script had images in it that I liked.
Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
That's definitely true! It was before my father died, so I can't attribute it to an obsession with death. When I was seven, I loved those old Sherlock Holmes movies with Basil Rathbone. The Scarlet Claw was one of my faves. And I loved all the Halloween's and that film about the haunted house... Burnt Offerings, with Oliver Reed. Every birthday party was a slumber party and we'd watch horror films.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.
I didn't want to be known as a man who only made horror films. I made some - very few.
I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.
It's just occurred to me that some horror films everybody laughs because they're so ridiculous and they're so frightening in a way, the filmmakers' are trying everything, that they just end up being funny.
With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.
I love horror films, but it's more than an adrenaline rush for me. I love them because I know they scare me. It's kind of like I go on roller coasters, but I'm terrified of roller coasters, sort of thing.
I want to have an ending where people say: "That's the most shocking ending I've ever seen in a mainstream horror film."
It's not that I'm not a horror fan, it's just that the horror scripts I've been sent have been rubbish and obvious. Because they usually are in horror films - it's just about scare factor. You're always one step ahead, you know who's going to die first, you know who's going to survive, you're going to get a jump every twenty minutes.
Death's just something that inspires me, not something that pulls me down. I used to get called morbid at school. I have always loved horror films; I like being frightened.
Horror films have always been quite operatic for me. I always sort of scratch my head at people's offense to them. If you don't get them, and you don't like them, then don't watch them.
That's when you know a horror film delivers - when you're walking out of the theater going 'Oh my God!' You can't get the images out of your mind.
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