Zitat des Tages von Wes Craven:
I had been a college teacher. I had taught Greek mythology.
I learned to take the first job that you have in the business that you want to get into. It doesn't matter what that job is, you get your foot in the door.
I don't know, I always had an active dream life, and there's something so profound and wonderful about a movie. It's so alive. It's so shared. The thing of sitting in an audience and going into a dream-like state with several hundred other people that are sharing exactly what you're feeling is a profound event.
I had a musician friend once tell me that it's not in the orchestra that you get the true test of the musicians but in the little trios and quintets where you really get to see if they've got the stuff. And the composer.
Within the structure of 'Scream 4,' there is the film within a film, but that's been part of the 'Scream' franchise since 'Scream 2,' when you had the 'Stab' franchise.
A lot of life is dealing with your curse, dealing with the cards you were given that aren't so nice. Does it make you into a monster, or can you temper it in some way, or accept it and go in some other direction?
I never went to film school, so I never had the chance to be rejected.
I was anathema in polite society after I made 'Last House.' People literally would grab their children and run from the room.
I have a lot of fans who are people of color. I think, if nothing else, I kind of understand that sense of being on the outside looking in, culturally.
A big part of directing is being strong in certain circumstances and taking the gamble and hope you don't get fired.
There was a period around Columbine when horror films were being kind of assailed by the government. The studios got very afraid that they were going to be sued, and studios at about that time were all being taken over by corporations.
I didn't see many films until I was in college teaching.
You learn a lot more from those bumps than from when things are going great.
Whenever I go to have a meeting at Universal, the security guard just leaps to his feet and comes over, bumps my hand, and says, 'Thank you! Thank you - I love your films!'
In the '60s, I was teaching humanities at a college in upstate New York and trying to publish a novel I'd written in graduate school. But nothing was happening. So I moved to New York City and got a job as a messenger at a place that made movies.
'To Kill a Mockingbird' was so important because it was such adult film-making - to see something that dealt with such an important issue and had such an enlightened outlook on the world.
I come from a blue-collar family, and I'm just glad for the work.
Hawks is great, 'The Treasure of Sierra Madre,' 'The Big Sleep'... He could do the Salt-of-the-Earth very well. He was a very smooth director; a very good film architect in terms of his storytelling.
My mother wouldn't even let me read DC Comics. I came from a very strict background.
The first monster you have to scare the audience with is yourself.
I did many things in my life - I painted, and I'd play guitar, and wrote and did many things. But it all seemed to come together in making movies, and almost accidentally.
There will always be times where you think, 'What went wrong? Why wasn't that one more popular?' You can't always figure that out, especially if you think you've done the best job you can do and was interesting to you. I mean, 'My Soul to Take,' I thought should have done much better, and I still like that film a lot.
All I'm doing is rearranging the curtains in the insane asylum.
The whole business is changing dramatically, and the way fans follow and participate in movies, and make their own movies to emulate those movies, is profoundly different.
Everybody is afraid of the unknown. Everybody is afraid of the people that they've done terrible things to!
The 'Scream' series is unique in that it's an ongoing murder mystery, even though it's a different killer, so if you know who that killer is, then half of the fun of the movie is gone.
'Last House' offended a lot of people. The results in the theaters, even in Boston, reminded me a bit of things from when I was studying Theater of the Absurd, and the rise and the appearance of Ionesco plays, and things like that.
I remember going to a funeral at a very fundamentalist church, and I just had to get out of there. I went out in the parking lot and just sobbed. I think there was a sense of loss of that little boy not knowing if he was right or wrong. Everything I grew up with I had to walk away from.
In 'Scream,' there is very real drama that would be in almost any drama.
Everybody's making horror films and, to me, not especially well.
My goal is to die in my 90s on the set, say, 'That's a wrap,' after the last shot, fall over dead, and have the grips go out and raise a beer to me.
My brother and I both used to worry about dying at 40 because our father died at 40. That probably wasn't terribly rational, since my father led a rather unhealthy lifestyle, shall we say.
My mother never saw any of my films until she was in her late 80s, and that was 'Music of the Heart' with Meryl Streep.
In high school, we would give away rulers to our friends that said, 'Jesus loves you.' I couldn't put together the concept that Jesus loves you, but if you don't love him back, you'll burn in hell forever. I worried, 'I'm rejecting the Holy Spirit, so I'm definitely going to burn in hell.'
