A Quote by Peter Hitchens
The most terrifying thing I ever saw in a cinema, thanks to the carefully built-up drama, was in the ancient black-and-white film 'The Innocents,' based on Henry James's 'The Turn Of The Screw.' My skin actually crawled with horror.
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Cinema is a little over 100 years old, and a lot of what we do is built around film emulsion. Those things were calibrated for white skin. We've always placed powder on skin to dull the light. But my memory of growing up in Miami is this moist, beautiful black skin.
I have only read very classic traditional English ghost stories, other than Henry James, who wrote some magnificent short ones as well as the longer 'Turn of the Screw.' He, Dickens, and M.R. James are my influences.
With 'Cold Skin,' I believe we can create a lasting psycho-physiological horror film. It is one of the most atmospheric, terrifying, cinematic, and original stories of the human spirit.
Entertainment came out of this thing called a television, and it was gray. Most of the films that we saw at the cinema were black and white. It was a gray world. And music somehow was in color.
The action movie, the thriller and the drama all have safety nets under them. But not the horror film. The horror film can sink to an abyss far darker than the imagination can ever reach.
I saw an episode - the second episode [of Black Mirror], "Fifteen Million Merits" - and I completely flipped out: "This is what my nightmares are made of. This is the most terrifying thing I've ever seen."
We had this terrible thing, this awful thing with 'Black and White' happened, where the design of 'Black and White' was actually... was hijacked by the fan sites. Because what happened is, there were so many fan sites on 'Black and White,' the hype on 'Black and White' was just ridiculously huge. It was completely out of our control.
We as black have to remind ourselves that we are a great people and we come from a great lineage. How can we say that we were Kings and Queens during ancient civilization but then turn around and say, 'we don't have privilege.' Who said that? What is that based on? Is that based on the white man's definition of privilege and what this system is showing us? Yes, of course.
If you think about it, most cinema is built along 19th-century models. You would hardly think that the cinema had discovered James Joyce sometimes.
With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.
I lived right on the borderline of a black neighborhood. So I could go into the black area and then there'd be these ghetto theaters that you could actually see the new kung fu movie or the new blaxploitation movie or the new horror film or whatever. And then there was also, if you went just a little further away, there was actually a little art house cinema. So I could actually see, you know, French movies or Italian movies, when they came out.
I'm all about surprises. If you watch a horror movie, and it's called 'Kiss Land,' it's probably going to be the most terrifying thing you've ever seen in your life.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
While reading writers of great formulatory power — Henry James, Santayana, Proust — I find I can scarcely get through a page without having to stop to record some lapidary sentence. Reading Henry James, for example, I have muttered to myself, "C’mon, Henry, turn down the brilliance a notch, so I can get some reading done." I may be one of a very small number of people who have developed writer’s cramp while reading.
Here's the thing. We do a movie with a predominantly black cast, and it's put in a category of being a black film. When other movies are done with a predominantly white cast, we don't call them a white film. I'm trying to remove the stigma off things they call black films.
When I was a kid I wasn't allowed to watch horror movies at all. And actually, one of the genesis points for 'Mandy' and 'Black Rainbow' was this memory I have of being in video stores, reading the backs of videos and looking at the art, imagining some kind of non-existent imaginary film based on that.
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