George A. Romero Quotes
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Movies are about escape.
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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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Somehow I've been able to keep standing and stay in my little corner and do my little stuff and I'm not particularly affected by trends or I'm not dying to make a 3D movie or anything like that. I'm just sort of happy to still be around.
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I've made six zombie films; I've tried consciously to make each one different from the next.
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One thing about a film production is that it must run efficiently; there is no room for dead wood. So somebody that hangs around by the coffee wagon won't get hired again, but somebody who is dedicated and works hard and really puts out will get noticed by the people that matter around there and will get asked to come back again.
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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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Is Michael Moore an honest documentarian? Honestly? I don't think he is... The real discussion gets left behind the entertainment value.
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I grew up on the old EC comic books before the Comics Code in North American and with all sort of good-natured fun. I never had nightmares I think because all of the old horror stuff that I was exposed to was well meaning in a certain sense.
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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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To me, the zombies have always just been zombies. They've always been a cigar. When I first made 'Night of the Living Dead,' it got analyzed and overanalyzed way out of proportion. The zombies were written about as if they represented Nixon's Silent Majority or whatever. But I never thought about it that way.
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I always have CNN on. That's where I get my ideas.
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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'm more alarmed by people reacting violently to the violence in my films than I am by the violence in films.
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I do think of my films as morality plays, even though my reputation is, you know, splatter films and like that. But I think of them as very moral.
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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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I wanted 'Night of the Living Dead' to look naturalistic, but we weren't able to do it because we were shooting with a blimped 35mm camera, which is automatically static.
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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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I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
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There is something about the sameness people like. And what I've tried to do with all the zombie films is purposely make them different. That may be part of why it takes so long for people to see what it's intended to be.
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'The Thing from Another World' was the first movie that really scared me. But the one that made me want to make movies was 'The Tales of Hoffman.' That's my favorite film of all time. It's a fantasy film. It's an opera. I never get tired of it.
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I'm basically a fairly traditional filmmaker.
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I'm telling you, man, after I did 'Land of the Dead,' which Mark Canton produced, Universal picked it up, and I had to use stars. I didn't think I needed stars - Dennis Hopper was in it. I loved him. We hung out. I loved him, but his cigar budget was more than we paid for the entire budget of 'Night of the Living Dead.'
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My film collection is all oldies.
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There are so many factors when you think of your own films. You think of the people you worked on it with, and somehow forget the movie. You can't forgive the movie for a long time. It takes a few years to look at it with any objectivity and forgive its flaws.