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I'm amazed. I go to these conventions, and the fans that come, sometimes my line goes all day.
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I grew up on DC Comics, moral tales where the bad guys got their comeuppance. To me the gory panels or grotesque stuff just made me chuckle.
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I won't say I'm uncompromising, but I won't compromise just for the hell of it.
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If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.
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As a filmmaker you get typecast just as much as an actor does, so I'm trapped in a genre that I love, but I'm trapped in it!
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I have a very quiet life. There's nothing weird.
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With CG, I can do more and be sillier. In 'Diary,' there's a scene where they hit a guy with acid, and the camera is never off him, and you see it gradually eat through his skull and get all the way through his brain. That's fun, too.
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In the old days, there were three networks, and all of a sudden, Walter Cronkite is the most trusted man in America. Everybody believes what he says, not even thinking. In those days, we didn't even know it was being spun. We were very willing to just listen to it and go along with.
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Basically, I'm an EC comic book guy, man. You can show me anything that's high-spirited horror, and I'll be there giggling.
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I'm a Turner Classic Movies guy. That's it. I'd much rather sit here and watch an oldie than anything new.
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The only advice you can give is, 'Don't let the bad stuff keep you down.'
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The most realistic blood I've seen is when Marlon Brando gets beat up in On The Waterfront.
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Horror will always be there, it always comes back, it's a familiar genre that some people, not everyone - it's sort of the cinema anchovies. You either like it or you don't.
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When we made 'Night of the Living Dead,' we got riddled. There was this famous article Roger Ebert wrote just blasting the film because he had gone to see it at some screening where there were all these kids in the audience. I don't know why that happened. We didn't make the movie for kids.
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As great as Ed is, the wisdom out here is that he can't carry a movie. They'll pay him $3 million to be the second banana in Julia Roberts things. But they won't put up $3 million for an Ed Harris movie.
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Movies are about escape.
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The very fact that you thought of it means that, somewhere in your mind, it's believable to you. All you have to do is convince your audience that it's possible.
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People called '28 Days' and '28 Weeks' zombie movies, and they're not! It's some sort of virus; they're not dead.
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If I fail, the film industry writes me off as another statistic. If I succeed, they pay me a million bucks to fly out to Hollywood and fart.
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When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.
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Pittsburgh, for a while, became a production centre. There was one $400 million year. Hollywood was bringing productions in there. Films like 'The Silence of the Lambs' and 'Innocent Blood.' So my guys, the guys I worked with, were able to have careers and live at home. But then it dried up, and a lot of my friends left.
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I always have CNN on. That's where I get my ideas.
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The guy that made me wanna make movies... and this is off the wall-is a guy named Michael Pal, the British director.
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Zombies cannot run.