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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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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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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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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'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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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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I don't like landscapes. I like cities. Lots of cities. I like buildings. I like streets.
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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 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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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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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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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've never gone into analysis. But Freud opened a door, I know.
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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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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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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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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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My mother was a famous photographer for actresses, including Sophia Loren, Gina Lollobrigida, and so many. I remember I went to school close to my mother's studio, and for years, I went to the studio after school and just watched how she captured these beauties.
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I remembered watching the film from Alfred Hitchcock, 'Dial M for Murder,' and he shot almost all of that movie in one room. There was a genius in what Hitchcock did by manipulating things in that room so that you could see the distances between things like the tables and the vases because of how he used perspective.
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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 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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The process of writing and directing drives you to such extremes that it's natural to feel an affinity with insanity. I approach that madness as something dangerous, and I'm afraid, but also I want to go to it, to see what's there, to embrace it. I don't know why, but I'm drawn.