52 George A. Romero Quotes on Dawn of the Dead, Stupid people and Cinema - Quotes.pub

Here you will find all the famous George A. Romero quotes. There are more than 52 quotes in our George A. Romero quotes collection. We have collected all of them and made stunning George A. Romero wallpapers & posters out of those quotes. You can use this wallpapers & posters on mobile, desktop, print and frame them or share them on the various social media platforms. You can download the quotes images in various different sizes for free. In the below list you can find quotes in various categories like Dawn of the Dead, Stupid people and Cinema

My stories are about humans and how they react, or fail to react, or react stupidly. I’m pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.

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 can’t really make fun of zombies. They’re not liars. They’re not cheats.

My zombies will never take over the world because I need the humans. The humans are the ones I dislike the most, and they’re where the trouble really lies.

My opinion of a good zombie walk is to loll your head as if it’s a little too heavy and the muscles have begun to atrophy.

I really believe that you could do horror very inexpensively. I don’t think it has anything to do with the effects, the effects are not the most important parts.

I don’t think you need to spend $40 million to be creepy. The best horror films are the ones that are much less endowed.

I think you’re only free if you’re working on very low or huge money.

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.

You can fall on your face easily if you go off in a certain direction. The Birds is a good example, some people are really phobic about birds flying over their heads, and some don’t care. So, it’s a personal thing.

Anybody who tunes into Rush Limabaugh already knows what he’s going to say and is already inclined to agree. So it winds up creating tribes.

I keep a little notebook of things that I can do to the zombies that might be silly and fun.

I don’t want a zombie society. I don’t want to go that far.

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.

I’ve gotten letters, but mostly from Bible-belt types who say, you must be Satan! They come right out and call me Satan and hope that I’m damned to hell.

As a filmmaker, I love the medium. I have a great affection for it and I’ve been lucky enough to do all different kinds of films. The greatest part of the success I’ve had comes from horror. I love the idea of mixing humor and horror and to me, it’s all a giggle.

If I fail, the film industry writes me off as another statistic. If I succeed, they pay me a million bucks to fly out to Hollywood and fart.

I like guys who are understandable and good guys who are flawed.

I grew up on DC Comics, moral tales where the bad guys got their comeuppance. To me the gory panels or grotesque stuff just made me chuckle.

I expect a zombie to show up on ‘Sesame Street’ soon, teaching kids to count.

I’ll never get sick of zombies. I just get sick of producers.

If one horror film hits, everyone says, ‘Let’s go make a horror film.’ It’s the genre that never dies.

It would be very hard to write a serious drama and say some of these things. You can be much more abstract and allusive with horror, and it’s very forgiving to the author. You don’t necessarily have to take an absolutely positive position. You can just write whatever.

Just because I’m showing somebody being disemboweled doesn’t mean that I have to get heavy and put a message behind it.

The most realistic blood I’ve seen is when Marlon Brando gets beat up in On The Waterfront.

When I was old enough to go to movies alone, I got to see ‘Frankenstein’ and ‘Dracula’ on the big screen. I just fell in love with them.

People called ‘28 Days’ and ‘28 Weeks’ zombie movies, and they’re not! It’s some sort of virus; they’re not dead.

For a Catholic kid in parochial school, the only way to survive the beatings – by classmates, not the nuns – was to be the funny guy.

I always thought of the zombies as being about revolution, one generation consuming the next.

As a filmmaker you get typecast just as much as an actor does, so I’m trapped in a genre that I love, but I’m trapped in it!

Nothings ever real until its real.

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.

Zombies are the real lower-class citizens of the monster world and that’s why l like them.

Everybody knows the rules, even though some break those rules.

Collaborate, don’t dictate. Every department head has something to offer. Listen and gratefully accept their offerings. They’re moviemakers, too.

Zombies are the blue-collar monsters.

I also have always liked the monster within idea. I like the zombies being us. Zombies are the blue-collar monsters.

My stuff is my stuff. I do it for my own reasons, using my own peculiar set of guidelines. I’m not a student of the genre. I don’t care what anybody else does.

Movies are about escape.

I’ve always felt that the real horror is next door to us, that the scariest monsters are our neighbors.

Collaborate, don’t dictate.

I’m like my zombies. I won’t stay dead!

When there’s no more room in Hell, the dead will walk the Earth.

All of a sudden, a great crash sounded, and even the calm, collected Peter flinched at the noise. The closet door flew open and two small children, a girl and boy, burst out into the room. They were a ghastly sight, even to Peter’s cynical eyes: the little girl had no left arm, the boy had been bleeding from a great wound in his side. Peter felt a touch of sympathy for the pathetic creatures, but then he reminded himself—they were dead!

Dawn of the Dead Quotes

Philadelphia, the city of Brotherly Love, was littered with the bodies of its citizens. Moonlight loomed over the embattled city, illuminating the destruction. In the early morning hours, the few lights remaining on were reflected in the waters of the Delaware. The quiet was interrupted only by the sounds of the lapping water and the occasional creak of wooden floating docks as they strained against one another.

Dawn of the Dead Quotes

his voice barely above a whisper. “There’s no more room in hell.” His face was set in a grim expression, his eyes downcast. “What?” Steve spun around, not believing what he had just heard uttered. Peter took the wide-brimmed hat off his head and wiped his forearm across his sweating brow. He leaned against the railing and gazed long and hard at the couple. “Somethin’ my grandaddy used to tell us. You know Macumba? Voodoo? Grandaddy was a priest in Trinidad. Used to tell us, ‘When there’s no more room in hell, the dead will walk the earth!

Dawn of the Dead Quotes

The men crashed back through the store and Peter moved right to the racks of weapons. He pulled down a gorgeous high-powered rifle that was equipped with a sophisticated scope for sighting. “Ain’t it a crime!” he ejaculated. “What?” Steve asked, confused by the man’s sudden outburst. “The only person who could ever miss with this gun,” Peter said, looking through the telescope, “is the sucker with bread enough to buy it.

Dawn of the Dead Quotes

The neighbors are scary enough when they're not dead.

I didn't play practical jokes at home. I had a strict upbringing, which is part of my rebellion. I was raised Catholic and went to parochial school, which is why priests and nuns appear in my movies a lot, and I don't have very much nice to say about them.

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you.George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going.Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others.George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

Cinema Quotes George A. Romero: Interviews Quotes

1
2