A Quote by Richard Roxburgh
This is an area you always need to address when you're dealing with Dracula is the fact that there is something kind of attractive in his darkness - which there isn't in other horror characters.
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Some of my fondest and most impressionable movie memories are from those early sci-fi and horror films. I've always been a Dracula/vampire aficionado, being half-Romanian myself. Dracula has always been close to my heart - in fact, I have a first edition of Bram Stoker's book. I read it over and over again as a young kid.
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've always been a Dracula/vampire aficionado, being half-Romanian myself. Dracula has always been close to my heart - in fact, I have a first edition of Bram Stoker's book. I read it over and over again as a young kid.
Then my first film was something called Cannibal Girls, which sounds like a horror movie but was actually kind of a goofy comedy with horror elements. Like a horror spoof.
Im a devotee of Dracula, which was a pathfinder in horror and vampire fiction.
It seems impossible, in fact, to judge the eye using any word other than seductive, since nothing is more attractive in the bodies of animals and men. But extreme seductiveness is probably at the boundary of horror.
He's worse than Dracula because at least Dracula comes out of his coffin now and then. He seems to stay on his line and that's it.
I've likened Mignolet to worse than Dracula because at least Dracula comes out of his coffin now and then. He seems to stay on his line and that's it.
The actual basis of colour is instability. Once you accept that in lieu of something which is stable, which is form, you are dealing with something which is unstable in its basic character, you begin to get a way of dealing with it.
When you make a thriller/horror, darkness is [your] friend, because it lets the imagination go wild and what not. So you always end up going into darkness.
I would like to see whoever is our next president dedicate a significant part of their inaugural address to this challenge. We have to ignite the nation's energies and passions on this to make this happen. I think we do need the same kind of inspiration we had from Kennedy in his inaugural address in 1961.
My characters are always unlucky in love. It's annoying, but perhaps there is something in me that is suited to characters that have a darkness. Maybe it's why I play such damaged people when I'm not particularly damaged myself, I would say.
It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
As a kid, I had a Beatles poster and a Bela Lugosi as Dracula poster, so both worlds always appealed to me. Horror allows you to do things as a composer than you're able to do in no other style of movie. The music has to be aggressive. You can't tiptoe around. It has to be incredibly focused dramatically - no time for second thoughts.
A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.
I liked the idea that my character was not gonna be the typical dumb guy that I play, typically. I also loved the fact that it was dealing with kind of adult-extended adolescence, which I think is always interesting - a bunch of people that don't wanna grow up.
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