Zombies are always moving fast in video games. It makes sense if you think about it. Those games are all about hand-eye coordination and how quickly can you get them before they get you.
Comic books and radio were my escape. I even remember 3-D comic books where you put on the red-and-green glasses and Mighty Mouse would punch you in the face. It was the literature of the day for kids my age who were too bored with listening to 'Peter and the Wolf' on the record player.
I like guys who are understandable and good guys who are flawed.
At the time we did 'Night,' I was a director of television commercials. Some of them cost a lot more than our whole movie. They were very slick, sophisticated... we wanted the opposite look for 'Night.' We wanted it to look like a newsreel.
I grew up in New York City. And I lived in the Bronx in a place called Parkchester.
People called '28 Days' and '28 Weeks' zombie movies, and they're not! It's some sort of virus; they're not dead.
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.
I sit around listening to classical music. I don't play video games. I love to go to dinner, go on picnics, travel.
I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.
If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.
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.
I've never had a zombie eat a brain! I don't know where that comes from. Who says zombies eat brains?
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.
'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.
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.
Horror films are the anchovies of the cinema. Either you like them, or you don't.
For me, tribalism and religion are basically the big reasons we're in trouble. Patriotism, tribalism, and religion.
Zombies to me don't represent anything in particular. They are a global disaster that people don't know how to deal with.
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.
I'm a Turner Classic Movies guy. That's it. I'd much rather sit here and watch an oldie than anything new.
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.
The grotesque has never really affected or frightened me. I guess it's real-life stuff that frightens me much more.
Back then, in 1968, everything was suspect - family, government, and obviously the family unit in 'Night of the Living Dead' completely collapses. That's what we were focused on.
When you're shooting super-low-budget - we had 20 days to shoot 'Diary,' and a little over $2 - time is money.
I thought Godzilla was a mess, the monster had no character and the humans didn't either. They forgot to make the movie that went along with all these wonderful effects.
I'll never get sick of zombies. I just get sick of producers.
There are very few horror films that I think are worth their salt.
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.
First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive process.
On the other side of that coin, and far outweighing it, is the fact that I've been able to use genre of Fantasy/Horror and express my opinion, talk a little about society, do a little bit of satire and that's been great, man. A lot of people don't have that platform.
Is Michael Moore an honest documentarian? Honestly? I don't think he is... The real discussion gets left behind the entertainment value.
I liked the '28 Days Later' films, but they're not zombies; they're not dead. They're not using it in the same way.
I did 'Land of the Dead,' which was the biggest zombie film I had ever made. I don't think it needed to be that big. That money went largely to the cast. They were great, but I don't think that money needed to be spent.
I think you're only free if you're working on very low or huge money.
I go to these horror conventions all the time, and these audiences get so deep into it. They've pulled apart every movie fifty ways from Sunday.
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.
I always thought of the zombies as being about revolution, one generation consuming the next.