Eli Roth Quotes About Film
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I look at careers like Ben Stiller and think that's a great career to have where you're doing movies that you write and direct, and also act in films, although he's primarily an actor.
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I want to have an ending where people say: "That's the most shocking ending I've ever seen in a mainstream horror film."
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The film, 'Aftershock,' for me is really about how the minor problems in life that we think are so major ultimately mean nothing when a tragedy happens, when a real problem happens.
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You know, the best thing you can say about a horror film is, 'Don't see it.'
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Dawn Of The Dead is about how we're just a country cannibalizing itself, turning into one shopping mall, and everyone at the mall is just brain-dead, wandering around. Capitalism gone awry, and the worst parts of human nature coming out. All these different things that people read into the films that are all there, very strong anti-Bush sentiments that went into making those films. It's great. I like it when people get it the second or third time, when someone else points it out to them. They don't realize it's been there all along. Those are my favorite movies.
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If you don’t want to be scared in a horror film, don’t close your eyes. Close your ears.
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You'd be lucky to get tortured to death in one of my films. It's the best thing that could happen to your career. But I'm very aware that as soon as you put women in this situation, all of a sudden people are like: "Wow, well wait a second!" Immediately, people become very sensitive to it.
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Quentin Tarantino faced the same backlash when his films came out until eventually people felt they were actually much smarter.
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Even the European critics... They said Hostel is the smartest film they'd seen on capitalism and how it's gone too far.
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'Beatrice Cenci' was an amazing film. If it were released today it'd win Best Picture. It's so well done, it's so contemporary, and the filmmaking is so smart.
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I generally follow my own compass and make films about what's scaring me.
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I think that horror films have a very direct relationship to the time in which they're made. The films that really strike a film with the public are very often reflecting something that everyone, consciously or unconsciously feeling - atomic age, post 9-11, post Iraq war; it's hard to predict what people are going to be afraid of.
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I've always been a fan of 3D, going back to movies in the '50s. I was part of the early '80s 3D craze, which was coming at you in Jaws 3D, so I've always wanted to make a 3D film.
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'Troll 2' is one of the rare sequels where you don't have to waste time watching the first one, since the films have absolutely nothing to do with one another.
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Pulp Fiction won the Palme d'Or and people said: "Wait a minute, he's actually smart and he knows what he's doing!" I feel that with Hostel, any time you make a film like that it's going to illicit a strong reaction and you can't worry about that.
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I started the film [Hostel Part II]with the girls in an art class and there's a nude male model. People think that women are objectified, well here you go! Here's a man being objectivized but now it's under the guise of art.
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