To me, horror and comedy never work. Never worked for me, anyway.
I think it is good escapist entertainment even though it's bad.
[Writing scripts] I'm not looking to jump in and make super mainstream movies. I still like to make movies that I like to see.
I never made movies that had any of my music. I haven't crossed them over that much.
I was never really that aware of commercial things. The stuff that was really influential to me were bands like the Misfits or the Birthday Party, or things like that. If someone said, "Do you love Judas Priest?" - I never really even had a Judas Priest record. That's not what I grew up with. That wasn't really my scene, you know? That's why White Zombie never really fit. I still don't fit.
I never want to go back and remix old records, either. If a record sounds shitty, that's just the sound it has. I just take it as part of the music. Some of my favorite bands - their old records sound terrible. But that's just part of the sound. If they were perfect, I'd probably hate them. Same thing with movies.
Movies in general are more generic. If something sells just make more. That's Hollywood.
I'm not a big fan of remakes. And even if they are good, they're still not as good as the original, so what's the point?
Josh Brolin is an actor that I really, really like; he's fantastic. I worked with him once; he's a really great actor.
I think if you're going to remake a film it should be something that was a good idea, but wasn't executed well. There isn't anything I would like to remake. I have too many of my own ideas I want to make.
I just like movies, not one particular kind or genre. In fact, movies that are harder to classify I like more.
Why does everybody thing things are always contractual? I saw a shitload of questions and thought "better keep these answers short or I'll never get to all of these".
By the time we got to MGM, and Lions Gate the movie was done there was nothing else to say. It was done. Just as at Universal, it was art by committee.
I'd always want to decorate my bedroom. I needed visuals and to be stimulated by things. I'm still like that. It's the way I see the world.
Even a low-budget film costs way more money than a high-priced record. So, it's mo' money, mo' problems. When you have more money, it just creates more people trying to get involved and you have more trouble.
You know... the only person I really had to please after a point was the MPAA. Because Lions' Gate was like, hey, whatever you can get away with is fine, we don't care.
NC-17 means that you get it in like 3 theaters. They won't run the spots on MTV, won't run the advertising. It's the kiss of death so there was really no other choice.
You just have to do the thing that you feel is true to your vision, and then the audience will make the decision. But as soon as you feel like you're creating a product to just cater to what you think they want, it never works. It always feels phony. And the audience can tell immediately.
Just getting movies made is difficult because it takes a lot of money; I mean, it costs more money to make one movie than most bands will spend on every single record of their entire career; it's a huge undertaking.
The studio experience fluctuates depending on who you work with, it's not like it's all one experience. Every studio is different, every producer's personality is different. You never know what you're going to do.
Sometimes I'll go out into the crowd and keep singing, but I'll get maybe seven rows out and I'm out of synch, I'm a couple seconds behind the band and then it becomes chaos.
Every time I make a movie I have too many characters and too many locations.
Probably the biggest thing that surprises people is that I am obsessed with hockey. I grew up in the Boston area so I am obsessed with hockey since I was a little kid.
All the classic bands that have been around forever, they came up gradually.
I love Westerns. I really love John Wayne. Frank Capra, any of his movies I love.
