Eli roth quotes

I want people to see my name on a movie, pay money and know they're going to be entertained for 90 minutes.

I've always wanted to make a big apocalypse movie. I love 28 Weeks Later, I think it's great but Cell is totally different. It's about people's dependence on technology, the collapse of society and watching everything fall apart. That's something I've always wanted to do, which I believe it can!

I've always wanted to be involved in an exorcism movie. But I thought, "How do you make something scarier than The Exorcist?" The answer is you don't. But that doesn't mean you can't make something that is original and interesting.

I have no tattoos. There's nothing I've even been that into to get a tattoo of it.

There's fear in everything, but we can't just succumb to that. We have to suppress it, so we get used to suppressing fear to make it through the our day. Otherwise, we'd become paralyzed by them.

For the fee of $10,000, anyone could be escorted to a room, handed a loaded gun and offered another human to kill. The concept made me nauseous. But it also felt real, and rang bells with my more cynical side.

One of the great elements of the supernatural is having that mystery and letting people's imaginations run wild with it.

'Eraserhead' is a weird, horrible nightmare, and it doesn't narratively make sense. Stuff's happening, but you honestly feel like you're in a nightmare, and it has such disturbing imagery that it stays with you forever once you've seen it.

Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"

I never put out a vanilla edition of a DVD.

Well, anytime I make a movie, I like to load it up with more things than you could ever catch on the first viewing.

Imagine trying to relive your worst break-up, your worst fight, the most painful death of a loved one, and just really relive it step by step, and bring it up and apply it to the scene you're in.

Twitter is wonderful. You can kill rumours instantly.

Even the European critics... They said Hostel is the smartest film they'd seen on capitalism and how it's gone too far.

I think that many people are ashamed when they feel afraid. There's this thing in our society that you're not allowed to feel scared. You have to be a man and put on a brave face, but we all have fears.

If you don’t want to be scared in a horror film, don’t close your eyes. Close your ears.

People want to be disturbed when they go see a horror movie.

I think characters are most terrifying when they're relatable. It's best when your most horrible characters make sense, and are believable. That's when a movie is most terrifying.

What is important to me is that people know I respect the business of making movies.

I love historical movies. I want to make a violent medieval epic.

I love movies that are just straight-up exploitation, but the ones that endure and the ones that last are the ones where the filmmakers put in that extra level of thought; after 25 years you put them on in front of an audience, and they'll respond to it and enjoy it.

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.

If I don't come home covered head to toe in fake blood then I haven't done my job as a horror director.

You have to trust your instincts and hope the fans like what you do, but you don't gut check with the fans. If we're going to make a series, people are going to have a lot of opinions and if there's one overwhelming majority or one thing you continuously hear repeated from the fans, you certainly take that into account going into next season.

Borat shows American stereotypes of Eastern Europe but it's an accurate depiction of what a certain type of American is. They think they can buy and sell these girls and then they get bought and sold.

With 'Hostel II' I thought I had a very, very strong female audience so I'm going to make a movie that's going to appeal to them. The guys will love it, they'll have their moments. But there'll be a lot more male nudity in this one. I have a lot of sausage in this one!

Chile could work as a double for L.A.; it's very production-friendly and there's terrific talent down there.

I felt people responded to two things. One, obviously, is the gore and the scenes like the eye gauging.

You know, the best thing you can say about a horror film is, 'Don't see it.'

Everyone is so terrified of being labeled a racist.

I'll direct any movie starring a monkey or the Olsen Twins. Preferably both.

Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"

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.

I need to eliminate 'like' from my vocabulary. I begin sentences with, 'That's seriously like ' I hear myself talking in this Los Angeles high-school student kind of way, and I hate it.

'Hostel' is that's how I feel about what's going on in Iraq. There's people that just want money and people are being sacrificed for it.

'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.

I'm not interested in going after a part. I think if someone wants me for a part and approaches me then I'll take it on a case-by-case basis and see what that part is.

I have the infinite galaxy from '2001 as my screensaver - so if I space out while I'm writing and it goes to screensaver, I can just stare off into the stars.

Natural disasters are terrifying - that loss of control, this feeling that something is just going to randomly end your life for absolutely no reason is terrifying. But, what scares me is the human reaction to it and how people behave when the rules of civility and society are obliterated.

My parents love it! They're on set. They make cameos in the movie. My father is a psycho-analyst and a professor at Harvard and he told me how many of the other professors at Harvard have gone and seen it. They love 'Hostel' and they love the thought behind it.

I generally follow my own compass and make films about what's scaring me.

My phobias worsen as I get older. I'm scared of flying, driving. I'm terrified of sharks. I'm a germaphobe. But I try to face my fears; I do. Well, most of them.

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.

I get a little too obsessive with work.

I have control issues. For sure, no question.

You know, I'm from Boston, and in Boston, you are born with a baseball bat in your hand.

There's something very scary about exposing yourself on camera, knowing that you're going to be put on thousands of screens around the world for everyone to judge, but there's also something very thrilling and exciting about it.

'Cabin Fever' was very much inspired by 'The Thing.' It's really a perfect guy's horror movie: There's no love story, it's just straight-up horror. And it's so well-done. It moves at a slow pace, but it's really terrific.

The world is changing. Social media is a way to sell movies and to build a fan base. The truth is that you have followers because they know you are into it and you're funny and you like it. I think it's great.

You do need an outlet to release all of those fears. You build it up and then, when you go to a movie theater, it's the last place that it's socially acceptable to be terrified. It's saying that, for the next 90 minutes, you're allowed to be afraid and you're not a coward for feeling that way.

I want an iPhone 5, someone said something nasty on twitter, or my boyfriend isn't texting me back, like whatever the thing is that seems so major in your life, when a real disaster hits you suddenly strips it all away and you see what's really important and who you really are.

Look at comic books. It used to be something that only geeks were into. And now it's everywhere.

Las Vegas is a 24-hour city. It never stops.

You can pretend everything's fine, but if there's an unhappiness or you're not having sex or you're not communicating or you're made to feel third best in the house and you don't address it and you just try to put on a nice face and a smile, that kind of aggression and anger is going to come out in some sinister way.

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.

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.

Possession and exorcism is something that’s in every religion and every culture. It’s a real primal fear: Is the body a vessel for our spirits? What happens if something else takes over it? Where does the spirit go?

I want a movie that 30 years from now, people can look back and see it as a reflection of where the culture was at - as a barometer of the culture.

You can't help but be influenced by the things you love. Read more at: https://tr.im/ezGbq

When I go see an R-rated horror movie, I want lots of violence.

I think you should make movies as long as the story dictates.

So when I was beating the guy, I started thinking, 'What if I was Hannah Montana?' . . . And little do they know that that's why I look so insane . . . I'm torturing myself with thoughts of, 'How could I actually pull off being a high school student and a pop star at night?'

I always say that no matter what the torture is, or the tool is, first of all it's nothing worse than what's been done already and that wasn't done by the church and the state for over a period of 250 years during the European witch trials.

I feel like in the '90s, horror just lost its way and everything became so safe and watered-down.

As a kid, I was the neighbourhood baby-sitter - very responsible, always in charge.

When people direct insults at me, I can take it.

The point of the first one was that it was about guys being lured by sex and the stereotypes... I always say it's like a horror version of Borat. Borat's not an accurate depiction of Khazakstan, it's an accurate depiction of America. That's what Hostel is.

For a long time, I had a crazy girl dating habit.

I can think of endless horrible things to do to people!

If you are having fun on the set, you are not getting things done.

Hopefully we'll get to a point where people realize movies don't cause violence. It just reflects the violence going on in the culture.

I saw Alien when I was 8 years old. To me, it was like a combination of Jaws and Star Wars and that's the movie that made me want to be a director.

Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.

I think in a post-9/11 world, with the images coming back from Iraq, everybody knows more and more people who are going over there... the images on the YouTube phenomenon where the violence is so immediate. Direct people need something stronger to respond to. I think that there's definitely a wave of directors - who are labelled the splat pack - who really, really care about making great scary movies.

When I was 22, I had this horrible psoriasis outbreak. It was all over my legs, I couldn't walk because my legs were cracked and bleeding. Weird things like that can happen to your body.

Life is a series of avoiding horrible situations until ultimately you're dead. That's how I feel about things.

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.

The one negative to horror is that it's always law of diminishing returns. When you go in the funhouse, the ride is never scary the second time. You will never have that pure experience as when you first watch it.

Even post-WWII, nobody talked about the Holocaust. It wasn't until the '50s that people started talking about it.

Once I got over the fear of writing female characters, it actually came quite easily and I was really happy with it. I just thought about girls I knew really, really well and I'd just have conversations with them and tried to relay how they talk about certain things.

I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.

I've realized that I can't multitask in the writing department; I can only kind of do one thing at a time.

I think in the late '80s and early '90s horror was dead.

I like movies that work on two levels - like The Simpsons, kids can watch it and adults can watch it. Teenagers can watch Hostel and if they want to see a blood and guts violent movie they're going to have a great time. They're going to scream and yell, it's a great date movie because they're going to squeeze their date and their date is probably going to be too scared to go home... so you take them home and put on Dirty Dancing and everybody wins.

The best movies now are called 'thrillers.' Because if you use the word 'horror,' people's associations are straight-to-video crap.

I've always dreamed of having a year-round haunted house.

I want to have an ending where people say: "That's the most shocking ending I've ever seen in a mainstream horror film."

I have so many different projects, I hear voices in my head - the characters talking all at once - and I have to write to make them stop.

'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.

Lucio Fulci is such a massively underrated director. Everyone knows him as the Godfather of Gore.

What's important for me is staying healthy.

Creative writing and shooting are muscles that atrophy. But when you work them, you become a self-generator who can branch out.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

In musical theater, if you have a song, it has to advance the plot. If you have a song in a musical and it does not advance the plot, it gets dropped.

Everybody has to know where they're coming from, what they're doing, why they're doing it, who they are. These are essentials.

When I was filming the death scene [in Inglourious Basterds], and I'm killing somebody, I had to work myself up.

As a kid, my idols were Sam Raimi and Peter Jackson, and I get into crazy races with myself. Raimi was 21 when he made movies, and when I didn't get 'Cabin Fever' made that fast I thought I'd failed.

Anytime you make a movie, the goal is a wide theatrical release, with the right distributor.

We live in an age now where so many people watch movies based on what Netflix recommends. It learns your taste and they really understand viewer habits.

I want it to be able to hold up in 30 years' time. So, I'm really thinking about everything.

Hopefully we'll get to a point where there are absolutely no restrictions on any kind of violence in movies. I'd love to see us get to a point where you can go to theaters and see movies unrated and that people know its not real violence. It's all pretend. It's all fake. It's just acting. It's just magic tricks.

I hear what people say, I read all the reviews, all the blogs, and I am always curious to hear it, because you can't always listen to the good press, you have to hear the bad press, too.

The scariest people are usually the sweetest.

Horror movies are the best date movies. There's no wondering , 'When do I put my arm around her?'

I have a strong art-history background.

I'd love to see us get to a point where you can make a movie and not worry about the limits of the violence. Then I think they'd get so violent that people would get bored of it.

The censors were great. There's always back and forth. But it's 'Hostel 2', it's not 'Happy Feet 2'. Everybody knows what Hostel is and people that are going to see it are going for more of what they loved in the original. No one is accidentally going to walk into it, no parent is accidentally going to take their child, and we're not pretending what it is in the advertising. We're saying it's very violent, it's very scary and a continuation of the first one.

I've always been fascinated by the idea that there's no such thing as evil; it's all in your point of view. To one group a suicide bomber is the antichrist and to one he's a hero.

Movie stars need to retain some of that mystique if you are a big movie star.

I love movies that have that resonating scare, that really get under your skin and make you think.

If someone gets up and walks out of the movie, it means it's really affected them.

I think horror should never be safe, whether it's violent or non violent.

I think in life we get very caught up in the minutia and, unfortunately, it generally takes some sort of tragedy in your life to put things in perspective.

One of the great joys of life, now that you can afford a nice suit, is getting one for free. That's why I like to do press tours - I always say making movies is just an excuse to get free clothing.

I'm from Boston, and in Boston, you are born with a baseball bat in your hand. And actually, most of the bats in Massachusetts are used off the field instead of on the field, and we all had baseball bats in our cars in high school.

A comedy can actually get funnier and funnier. Even though you know the joke, you enjoy it so much, it's the facial expression, you laugh. The laugh doesn't wear off. It could be with you for thirty years.

Horror audiences don't need to see some TV actor they're familiar with.

Much of my youth was spent in the parking lot or inside a Dunkin' Donuts.

Sometimes you have this tragedy which turns into an incredible opportunity.

When I go see an R-rated horror movie, I want lots of violence. I want nudity. I want sex and violence mixed together. What's wrong with that? Am I the only one? I don't think so.

Believe it or not, but I was a camp councilor for three years. I love kids.

It's just assumed that a horror sequel is going to be bad. It's never going to be as good as the first one.

It's very flattering to feel like you actually helped create a sub-genre.

Anytime you're the first to speak out against something, there's going to be a backlash.

I love movies. I mean, I really, really love movies.