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Paul Schrader on why 'Cat People' (1982) failed at the box office: "It really fell between two stools: it was an attempt to have things both ways, which is to have a classy film and a horror film. Well, the horror audience went and said, ‘Hey, this doesn’t look... show more

DepressedBergman

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25,422 views • 10 months ago •via X (Twitter)

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32,071 views • 5 months ago

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𝕭𝖎𝖏𝖚⚜️

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There are two types of people in this world. One that thinks this is the beginning of a horror film and the other that would completely love to do this. Which are you?

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Henri-Georges Clouzot on what he wanted the audience to feel while watching "La Prisonnière" (1968): "Schrader: Could you have conceived 'La Prisonnière' in black and white? Clouzot: I don't think so. Schrader: What struck me about 'La Prisonnière', like so many of your films, is that it is totally perverse. You seem to create a film consisting only of antagonists. Clouzot: I wanted this picture to be unbearable. I think that vice is something unbearable and we have to stand it. You can't imagine what is vice if it is bearable. For me it's Hell, really. I wanted the viewers to feel this way. I like the people to be as ashamed as the girl is. Schrader: Do you sympathize with any of the characters? Clouzot: No, I don't think so. All three of them are very vicious. I don't share the feelings of any of the characters." (Henri-Georges Clouzot's interview with Paul Schrader, 1969)

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Paul Schrader explains how 'Rolling Thunder'(1977) ended up being a fascist film: "'Rolling Thunder' (1977) was going to be my first film as a director. That film has an ironic history. I originally sold it to Larry Gordon at AIP, and then Larry moved from AIP to Columbia and took it with him, and then he left Columbia and took it to Twentieth Century Fox, made it there, and then Twentieth sold it back to AIP again and they released it. The story of 'Rolling Thunder' was really botched in the rewriting. The main character in the film was meant to be the same sort of character as Travis, with that same anti-social edge. The character, as I originally wrote him, was a Texas trash racist who had become a war hero without ever having fired a gun, and came home to confront the Texas Mexican community. All his racism from his childhood and Vietnam comes out, and at the ending of the film there’s an indiscriminate slaughter of Mexicans, meant as some kind of metaphor for American racism in Vietnam. In order to get it made at Twentieth, they insisted that that racist element be taken out, which is the equivalent of giving Travis Bickle a dog. Once you take out the perverse pathology of these characters, rather than become films about fascism they become fascist films, and that’s what happened to Rolling Thunder." ('Schrader on Schrader & other writings' edited by Kevin Jackson, 1990)

Paul Schrader explains how 'Rolling Thunder'(1977) ended up being a fascist film: "'Rolling Thunder' (1977) was going to be my first film as a director. That film has an ironic history. I originally sold it to Larry Gordon at AIP, and then Larry moved from AIP to Columbia and took it with him, and then he left Columbia and took it to Twentieth Century Fox, made it there, and then Twentieth sold it back to AIP again and they released it. The story of 'Rolling Thunder' was really botched in the rewriting. The main character in the film was meant to be the same sort of character as Travis, with that same anti-social edge. The character, as I originally wrote him, was a Texas trash racist who had become a war hero without ever having fired a gun, and came home to confront the Texas Mexican community. All his racism from his childhood and Vietnam comes out, and at the ending of the film there’s an indiscriminate slaughter of Mexicans, meant as some kind of metaphor for American racism in Vietnam. In order to get it made at Twentieth, they insisted that that racist element be taken out, which is the equivalent of giving Travis Bickle a dog. Once you take out the perverse pathology of these characters, rather than become films about fascism they become fascist films, and that’s what happened to Rolling Thunder." ('Schrader on Schrader & other writings' edited by Kevin Jackson, 1990)

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15,929 views • 11 months ago

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406,934 views • 8 months ago

“#Dhurandhar is a complete bloody action film and people enjoyed it. But 5-6 years ago social films used to run a lot. Now it is time for horror comedy. Everything keeps changing, we don’t know what audience will like next.” – #AkshayKumar | #BhootBangla

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Brian De Palma on "Friday the 13th" (1980) & his advice on how to make good horror movies on a shoestring budget: "Interviewer: Do you feel the audience is so hooked on sensationalism that they will overlook a poorly made film so long as it can provide lots of grizzly murders in the course of 90 minutes? De Palma: I think that audience is still discriminating. The low-budget films which have been successful, like 'Halloween' (1978) and 'Friday the 13th' (1980), may have been crudely made and done on a shoestring budget, but they are in fact suspenseful; they do ki!! people in very effective ways; and their plot twists are often very ingenious. But for every 'Halloween' and 'Friday the 13th' there must be 150 which have the exact same elements and yet they don’t work. Interviewer: 'Friday the 13th' has a scene where a guy gets skewered. It seems to me that’s what an audience leaves the theater talking about and not whether the cinematic values were good. De Palma: I disagree. I think it’s got to be effectively done—well set up, the maniac stalking, the way the people are dispatched, etc. There has got to be something more than run-of-the-mill horror in order for a film to be successful. Repetition is anathema to the genre. You can no longer just dec@p!tate people or sl!ce them through the gut or whatever. You’ve got to give the audience something new and striking if you want them to walk out talking about your film. Interviewer: Do you feel the ad campaign plays an important part in selling a horror movie? For instance, Friday the 13th had a $3.5 million ad budget from Paramount and spent it on very effective TV spots. De Palma: I don’t think that’s what makes a film successful. True the horror-film audience will go to see the picture; but if it doesn’t deliver, they won’t talk about—and that means it will be gone the next week. TV spots, no matter how well done, no matter how they blanket the tube, can’t sell something that doesn’t really exist. I’ve seen films with $10 million ad campaigns go rapidly into oblivion. The only thing you can say about the horror genre is that distributors will rarely spend a lot of money unless they feel the film truly is effective." (Brian De Palma's interview with Ralph Applebaum, 1980)

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DepressedBergman

87,209 views • 2 months ago

On this day, 21 years ago, Neil Marshall's "The Descent" (2005) premiered at Brussels International Fantastic Film Festival, Belgium. Neil Marshall on the influences for "The Descent" (2005), the reason for choosing all female cast & the violence in the movie: "Interviewer: What drew you to the project? Marshall: I was looking to do something really scary after my first film. My first film, “Dog Soldiers” (2002) had come out more as a black comedy than a straight horror film, and I still had this hankering to fulfill the need to do a really, really dark and bleak horror film in the vision of horror films I grew up with and loved, and still love. Things like “John Carpenter’s The Thing” (1982) and “Deliverance” (1972) and “Alien" (1979). Interviewer: Why did you choose an all Female cast? Marshall: Just to be different, really. I thought it was something that was contemporary. I thought it was something that was unique, certainly within this genre of brutal action horror film. I thought it’d never been done before. I thought it’d be interesting to try something fresh, and I thought why not in this day and age. Interviewer: Are you happy with the level of Gore and Violence? Marshall: Absolutely. I still don’t think there’s anything in there that’s totally gratuitous. Everything in there is kind of necessary to the plot to a degree and necessary to the progress of the characters. Certainly in terms of the Sarah character, driving her insane as to what she becomes and what she turns into." (Neil Marshall's interview with Kevin Carr, "Fat Guys at the Movies")

On this day, 21 years ago, Neil Marshall's "The Descent" (2005) premiered at Brussels International Fantastic Film Festival, Belgium. Neil Marshall on the influences for "The Descent" (2005), the reason for choosing all female cast & the violence in the movie: "Interviewer: What drew you to the project? Marshall: I was looking to do something really scary after my first film. My first film, “Dog Soldiers” (2002) had come out more as a black comedy than a straight horror film, and I still had this hankering to fulfill the need to do a really, really dark and bleak horror film in the vision of horror films I grew up with and loved, and still love. Things like “John Carpenter’s The Thing” (1982) and “Deliverance” (1972) and “Alien" (1979). Interviewer: Why did you choose an all Female cast? Marshall: Just to be different, really. I thought it was something that was contemporary. I thought it was something that was unique, certainly within this genre of brutal action horror film. I thought it’d never been done before. I thought it’d be interesting to try something fresh, and I thought why not in this day and age. Interviewer: Are you happy with the level of Gore and Violence? Marshall: Absolutely. I still don’t think there’s anything in there that’s totally gratuitous. Everything in there is kind of necessary to the plot to a degree and necessary to the progress of the characters. Certainly in terms of the Sarah character, driving her insane as to what she becomes and what she turns into." (Neil Marshall's interview with Kevin Carr, "Fat Guys at the Movies")

DepressedBergman

24,990 views • 5 months ago