A Quote by Sam Neill

If you're making a horror film, it's very important that you have lots of quiet, suspensey, don't-know-what's-happening stuff before you get the big fright. — © Sam Neill
If you're making a horror film, it's very important that you have lots of quiet, suspensey, don't-know-what's-happening stuff before you get the big fright.
'Hereditary' is unabashedly a horror film. In a lot of ways, it's in dialogue with other horror films. But I do know that it was important for me that the film functioned first as a family drama. I know that I'm never affected by anything if I'm not invested in the people to whom the genre things are happening.
I think it's very important to get this stuff on film, not just the behind-the-scenes of the process, but also the interviews with the women. We're going to try to do some on-the-street filming, getting people's reactions to the work, and seeing if we can get some street harassment happening on film so people can see what we're talking about. It's important to have some type of documentation so people can see what happens when we create this artwork and why I'm creating it.
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 don't know about other comedians, but I know that I never have felt anything like stage fright. I've felt nervous before big shows, but I think that's different than stage fright.
Audiences are very sophisticated and they know the nuts and bolts of the genre - certainly with horror more than others I think. But they attract lots of people, they're much derided as a genre but people go and see them and they're not all dumb. There's some very clever horror films. Stephen King gets a lot of flack for not being a proper writer because he's a horror writer, but I think he writes some brilliant books. I think it's wrong to just bin it before looking at it.
Film can do lots of things: It can produce alternative ideas, ask questions, just record the reality of what's happening, it can analyze what's happening. Of course, most commercial films are controlled by big corporations who have an interest in not doing those films.
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 don't get stage fright. I do get nervous before I play in front of big audiences [though].
'Goosebumps,' actually, was a very big part of my childhood, growing up, and it inspired me to get into horror and all that good stuff.
I was never a big fan of horror. I got into it making these films, but I don't ever see myself doing slasher movies. The kind of horror film I like is 'The Shining.' I don't really like slashers, but I love thrillers with tension.
I was never a big fan of horror. I got into it making these films, but I don't ever see myself doing slasher movies. The kind of horror film I like is The Shining. I don't really like slashers, but I love thrillers with tension.
I know when we were making the film [ Age Of Trump] that we knew that there was going to be some kind of radical change coming on the horizon. That's why it was important for us to get it out before the election.
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.
The safest genre is the horror film. But the most unsafe - the most dangerous - is comedy. Because even if your horror film isn't very good, you'll get a few screams and you're okay. With a comedy, if they don't laugh, you're dead.
When we were making 'Teddy Perkins,' we were playing with a lot of horror tropes and things you might've seen in movies before, but we get the ability to subvert expectations or get a comedic element out of a horror moment.
The reality is even if you are a hands-on Mayor or Governor or chief executive, at best, you must know about 10 or 20% of what's going on. Otherwise, you never get through the day... I was very hands on, and there's lots of stuff I didn't know, and lots of things that either went wrong or right that I would find out about afterwards.
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