A Quote by Mason Cooley

King Kong, Count Dracula, and the Phantom of the Opera are just looking for love, like the rest of us. — © Mason Cooley
King Kong, Count Dracula, and the Phantom of the Opera are just looking for love, like the rest of us.
The roughest make-up I ever wore was for 'Phantom of the Opera' because the phantom's face was all disfigured, and he's trying to pass in public so he can attend his beloved opera. That was make-up over make-up.
Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
Rest in peace, King Kong Bundy.
I mean, of course "King Kong" is a metaphor for the slave trade. I'm not saying the makers of "King Kong" meant it to be that way, but that's what, that's the movie that they made - whether they meant to make it or not.
'The Phantom of the Opera' is about love. It's as simple as that.
I want to make movies just like "King Kong." You know, dinosaurs, big gorillas - it's everything that a nine year-old boy would fall in love with.
To me "King Kong" is a metaphor for America's fear of the black male. And to me that's obvious. All right? So I mean that was one of the first things I said when I was talking to a friend of mine after he saw Peter Jackson's version of "King Kong."
In the Broadway world, I've always wanted to play Valjean in 'Les Mis', since I've already played Gavroche. I'd also like to play the Phantom of the Opera, but I haven't really thought about any film characters. You've got to have a whole lot of training for the Phantom role, vocally.
Too often, in novels that are speculative, God is a kind of kryptonite, and that's about all that it is, and it goes back to Dracula, where someone dumps a crucifix in Count Dracula's face, and he pulls away and runs back into his house. That's not religion. That's some kind of juju, like a talisman.
I'm still wondering about the Phantom in the chair, you know at the end of Phantom [of the Opera], so I guess that's my sort of idiocy. I still haven't figured out how they do that.
What I love about films is that you can see "King Kong" and you can be affected by it and then you realize that he was just this little guy when he made that fall.
I was not exposed to a lot of culture. The shows we saw in high school, like 'Phantom of the Opera' and 'Miss Saigon,' were thrilling. But my love affair with theater started with seeing a production of 'Little Shop of Horrors' that my sister was in.
Kim Newman brings Dracula back home in the granddaddy of all vampire adventures. Anno Dracula couldn't be more fun if Bram Stoker had scripted it for Hammer. It's a beautifully constructed Gothic epic that knocks almost every other vampire novel out for the count.
The United States is like Count Dracula who at six o'clock in the morning has not sucked [any necks].
Opera is full of trappings that make us go away from being human. You can't let them do that. You can't walk like you're in an opera! You have to make it real. You have to just be there.
If me and King Kong went into an alley, only one of us would come out. And it wouldn't be the monkey.
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