I've always heard people's criticisms twice as loudly as their praise.
R is for wussies if you're talking about blood and guts.
I don't really approach stories to make them different from other stuff I've seen, I just try to get into the character, into his or her head. Try to make it as funny, as scary or as wild as I can so that I really like it.
I like something where I can really use my imagination and be an active participant in the construction of the monster and usually that's in the world of the supernatural or the world of the fantastic, so that's why those kinds of stories about demons and the supernatural appeal to me or maybe I'm really interested in that subject.
When we read stories of heroes, we identify with them. We take the journey with them. We see how the obstacles almost overcome them. We see how they grow as human beings or gain qualities or show great qualities of strength and courage and with them, we grow in some small way.
I've always been interested in the camera and the effects of it - that's what drew me to film in the first place.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
Nowadays everyone's got the nose rings and the colored hair, so for me to wear the suit and tie is a different way to go.
My father told me to dress to reflect the respect you have for the people around you. I've never forgotten that.
I've always loved... actually I didn't always love horror films. I started out and I only liked comedies and dramas.
As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.
Rob [Tapert], myself and Bruce Campbell sat in hundreds of drive-insnot hundreds, but tens of drive-ins, watching these movies and learning how they were made, and we started to make our own in Super 8. And that’s really how we got into horror films. After a while we learned to really like them, and the craft that went into them.
I realized what interested me as a student of film was one thing and the movies that I liked were another.
I don't like shows, I don't like to put on a show, I just really want to work intimately with my actors.
If a remake is not good, no one wants to see it and, again, it doesn't hurt the original.
I think in every picture that I've ever made. Everything that I've done torments me. I really would like another chance except I'd be too embarrassed to ever really try to do them again and no one would want to see the same movie just done differently.
I don't like movies about serial killers, necessarily; it's too real and unpleasant for me.
Every filmmaker knows that when you make a book into a movie, the first thing you have to do is kill the book, unfortunately. You've got to recreate it.
I used to get headaches in 3D movies, and I didn't want the movie to give people headaches.
The domination of one's spirit and mind is not a pretty thing, but I think it happens.
I had a reporter ask me what it was like to have my best years over so soon. It stayed with me.
I've always worked with a team of actors and filmmakers ever since I was a kid in Michigan making Super-8 movies.
Any time anyone makes a comic book into a movie, in some way, I think they have to kill the comic book.
Every picture has been a learning opportunity for me.
I've always made sequels, even when I was making Super 8 movies if the audience liked it.
