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.
George A. RomeroRead
There aren't that many monsters. It's very hard to create a new monster.
Interpretation
Creating something truly unique or frightening is a difficult task.
This quote by George A. Romero reflects on the challenge of originality in the realm of creativity. While there may be many representations of 'monsters' in popular culture, the process of truly innovating or creating a new and impactful 'monster'—whether literal or metaphorical—requires significant effort and originality, suggesting that true creativity stands apart from mere repetition or imitation.
In practice
In a speech about the creative process, one might say, 'As George A. Romero once noted, there aren't that many monsters, highlighting the challenge of true originality in art.'
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.
Because of 'World War Z' and 'The Walking Dead,' I can't pitch a modest little zombie film which is meant to be sociopolitical.
I've always felt that the real horror is next door to us, that the scariest monsters are our neighbors.
My films, I've tried to put a message into them. It's not about the gore; it's not about the horror element that are in them. It's more about the message, for me. That's what it is, and I'm using this platform to be able to show my feelings of what I think.
I'm more alarmed by people reacting violently to the violence in my films than I am by the violence in films.
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.
It is, finally, a word is untimely in three different senses, and bearing it as one's treasure will not win one anyone's favours; one rather risks finding oneself outside everyone's camp... Beauty is the word that shall be our first.
I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed.
When the white man came to Africa, the white man had the Bible and the African had the land, but now it is the white man who is being, reluctantly and bloodily, separated from the land, and the African who is still attempting to digest or to vomit up the Bible.
He despised his body for its boring hungers, reflex anger; its petty, obliterating rage. But now he'd become detached. He regarded his body with a tender regret. It was the thing his spirit had to haul.
Old elephants limp off to the hills to die; old Americans go out to the highway and drive themselves to death with huge cars.
We have the wolf by the ears, and we can neither hold him, nor safely let him go. Justice is in one scale, and self-preservation in the other.
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