Dario Argento Quotes
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The Opera was a very cold film, a hopeless and dark film, no hope, no love.
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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.
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My daughter, Asia, has been in many of my movies. I love working with her. In the beginning, I was not supportive of her being an actress, but now I think she is fantastic.
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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.
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I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
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'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.
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Young girls of 13 or 12 are great actors.
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We had many good directors - John Carpenter, Brian De Palma - but things have become polluted by business, money and bad relationships. The success of the horror genre has led to its downfall.
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But you know, as you say, the original versions of my films are getting out there, slowly.
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I've never gone into analysis. But Freud opened a door, I know.
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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.
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I don't like landscapes. I like cities. Lots of cities. I like buildings. I like streets.
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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.
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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.
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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.
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Shooting movies has changed, and me too - I have changed. And then, every film I do, something in my mind, my soul, changes. My natural change, I change at the same time as the films, I think.
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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.
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This is my life - I want to tell stories. There is something huge inside me that pushes me to tell stories, and tell stories for an audience and everybody.
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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.
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I was very young, and I was on vacation with my family, and there was a retrospective of old films, and one of them was 'The Phantom of the Opera' with Claude Rains that was in color. It was something very important for my career because I began to follow these stories that were morbid.
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Even in the former Soviet Union, they have good copies of my movies.
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I also don't like films that are made just to make money, no this kind of film I don't like.
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I'm very interested in portraying homosexual man and woman in my films because I'm interested in their lives and their problems.
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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.