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
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.
Interpretation
The quote emphasizes the importance of conveying messages through films rather than focusing solely on horror or gore.
George A. Romero expresses that his filmmaking is driven by a desire to communicate deeper messages rather than just to shock or scare audiences with graphic content. For him, the emotional and thematic resonance of his work is paramount, using the medium as a platform to share his thoughts and feelings about society and humanity.
In practice
During a film festival panel discussing the significance of storytelling in cinema.
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.
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.
There aren't that many monsters. It's very hard to create a new monster.
An exact poetic duplication of a man is for the poet a negation of the earth, an impossibility of being, even though his greatest desire is to speak to many men, to unite with them by means of harmonious verses about the truths of the mind or of things.
If you want to make a documentary you should automatically go to the fiction, and if you want to nourish your fiction you have to come back to reality.
This is the very coinage of your brain: this bodiless creation ecstasy.
If you're writing a detective novel or horror or sci-fi, you want to expand or reinvigorate the genre in your own little way.
Underwater, I experience space with my body. I'll see a school of fish gathering and moving together and I'll exclaim, 'This is architecture.'
I don't like to write rhetorically or get on a soapbox. I try to make the stuff multi-layered, so that it always has a life outside its social context. I don't believe that you can tell people anything; you can only draw them in.
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