A Quote by Anthony Head
Well, it wasn't a holiday, but I had expected to do some sightseeing when I went to Haiti to film a series called 'True Horror' for Discovery. Before I arrived, our film crew were kidnapped and held at knifepoint.
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So I was asked to do horror film after horror film, a series of about five, after that, and some of those were a little too gruesome. I wasn't too comfortable all the time in those. I didn't really care for them.
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 met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
I found the people to be very kind and generous. It was unique because the crew was mainly Ugandan [filming The Last King of Scotland]. They had never done a film before. So, they were learning the process of making films, but at the same time they were also helping with the authenticity of the film.
'Saw' really was like a student film for me; we expected it to go straight to video. I never expected anyone to see that film, and then it becomes one of the most successful horror franchises.
Once, in a three-day taping that included several sadists, the material was so overwhelming that both the film crew and I got sick - I with a sinus infection, and the entire film crew with a flu so severe they had to delay their departure from the motel. Our immune systems had weakened, I believe, from the beating out souls had taken.
The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.
I booked a horror film called 'Where the Devil Hides.' It's... you know, a horror film. But it was the first full-length movie I'd ever done, and it got me my visa, and I could start work.
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.
Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
I remember, the first time I saw a [Andrei] Tarkovsky film, I was shocked by it. I didn't know what to do. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before. Then others, like Kurosawa and Fellini, were like a new discovery for me, another country.
I love Donnie Darko movie so much. Just before I got that script, I had been to see some European art film. I walked out of that movie and said to my husband, "That's what I want to do! I want to do an art film and take it to the edge." Within two weeks, we were getting ready to go on vacation, and my agent called.
I get to sing a great song called "Proud of your boy" which was by Alan Menken and Howard Ashman and they were so hurt when it had to be cut from the film [Aladdin]. They were not happy. For the sake of the film, they had to streamline everything.
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