Top 132 Frankenstein Quotes & Sayings - Page 2

As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.

I'd always had a crush on Teri Garr - and still do. I've always adored her. I mean, who doesn't think about Teri in Young Frankenstein? I mean, come on! It makes you talk in that accent for weeks.

We were having a sleepover when I was eight or nine, and we all got to stay up late and watch the original 'Frankenstein.' It was uncensored, so as a child, I saw the scene where he throws the little girl into the lake, and that freaked me out. Though not as much as when he hangs the hunchback.

I've always loved Mary Shelley's Frankenstein. There's this wonderful chapter in which we get a first-person account of the monster's first impressions of the world, being in the woods and taking things in. We're seeing the world as if for the first time. That's just fascinating.

There are too many remakes, too many reimaginings. Nothing new, and that's always a bad sign. They remade 'Frankenstein' 26 times between 1930 and 1970, so it's not a new phenomenon.

You see those guys wearing baggy pants, descendants of the parachute pants, wearing an odd, weird Frankenstein haircut. It all comes out of Peter Lorre.

Gene Wilder made his movie debut in "Bonnie And Clyde," starred in the Mel Brooks films "The Producers," "Young Frankenstein" and "Blazing Saddles," played opposite Richard Pryor in "Silver Streak" and "Stir Crazy" and portrayed the candy-maker in "Willy Wonka And The Chocolate Factory."

When I was a kid, going to Universal Studios, which was all I wanted to do, all the time, there was a show that was all the monsters, and I loved that show. I was obsessed with Dracula. I was obsessed with Frankenstein. I was obsessed with the Wolfman.

Because I'm the only performer who comes out and says I've had plastic surgery, I've become the plastic surgery poster girl, which is hilarious, because everybody has done it and they all deny it. They stand there, like the Bride of Frankenstein, they've all got stitches, and they all say, 'I've done nothing.' I talk about it.

It's very strange - several years ago, I was in the running for the 'Young Frankenstein' musical. Kristin Chenoweth was going to do it, but then she backed out because she got 'Pushing Daisies' on TV, and then, the next day, I went in for my final-final audition, and I saw Megan Mullally standing there.

I hadn't seen 'Bride of Frankenstein' until high school or maybe even later than that. It's really one of the great movie experiences where you think you know what it's going to be, but it's so much weirder and so much better than anything you could've imagined. It's so full of these striking, powerful images.

Nico was gothic, but she was Mary Shelley gothic to everyone else's Hammer horror film gothic. They both did Frankenstein, but Nico's was real.

When I did 'Frankenstein,' the record company said, 'Now you can do 'Dracula' and 'Wolf Man' and we'll call the whole thing Monster Rock!' and I said, 'No, that's not going to happen, I'm not going to do that.' I kind of enjoy defying categorization. I love music in and of itself. I love the beauty of harmony and rhythm.

The Fomorians skittered backward, away from me, looking justifiably confused. I mean, really, how many human women actually run to them? And I was a human woman covered in swamp yuck, with wild red hair sticking out in matted hunks and arms flailing like a demented Bride of Frankenstein. I'd run from me.

On 'Oz' one day, I got a chunk of a camera embedded in my head, and I was passed out on the floor geysering blood while the set medic stood over me, freaking out. No help whatsoever. I ended up going to the ER and getting nine stitches in my head - real Frankenstein stitches.

I like - it's not that I want to be someone different from me, but I suppose it partly is that. I love creating a character in a fantastical situation, like Dr. Frankenstein, like Leo Bloom, a little caterpillar who blossoms into a butterfly. I love that.

According to Jewish legend, only the very wisest and very holiest rabbis had the power to make golems, animated servants of clay. Strictly speaking, the golem is not in the same class with Frankenstein's monster, because the golem is neither alive nor dead. He is, rather, the ancestor of all robots.

If we are willing to concede the President dictatorial authority where we happen to agree with him, as liberals have tended to do over the years, we will have little chance of tying his hands when we do not....You will see why many of us in the Congress understand how Dr. Frankenstein must have felt when his creation ran amok.

I think that Michael Myers is an icon. The bad guys, it's always the bad guys that everybody loves. It's Michael Myers, it's Freddy, it's Jason, they're like the Dracula and Frankenstein of our generation. I think it started a new wave of horror films. They're cult classics and they're something that everybody wants to watch on Halloween.

When I was a kid, before there were VCRt, my parents had a movie projector, and we'd watch Frankenstein and Dracula. I just always though that stuff was cool - creepy comics and monsters and horrific stuff. Music lends itself to that whole theme.

There are perennial stories like 'Alice in Wonderland' and 'Sherlock Holmes' and those sorts of things, which have been around since almost as long as film, and 'Frankenstein' is another one. They're perennial favorites, which get remade every 20 years, and that's OK.

The funny thing is, I was not a fan of horror when I was a kid. I was scared to watch scary movies. And then along came 'Abbott and Costello Meet Frankenstein,' and 'Abbott and Costello Meet the Mummy.' And I like those films because they made scary funny, and it was kind of ironic that I ended up doing the 'Hotel' movies.

Somehow I know there was something so right about my doing Frankenstein and taking so long over it that I've probably been laying some ghost inside myself. It was a very necessary job for me to do, but it'll take some time to recover from it.

Future historians will surely see us as having created in the media a Frankenstein monster whom no one knows how to control ordirect, and marvelthat weshould have so meekly subjected ourselves to its destructive and often malign influence.

Me and my parents would watch old 'Frankenstein' and 'Dracula' and all those old black and white movies - as a kid, I'd lie in bed thinking that they would come out at night.

Who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that's the one I do.

In Frankenstein there is a transfer first of life into death (in the creation and animation of the monster), and then of death into life, as the monster takes his revenge on the father who gave him life but withheld recognition.

Hamlet and Victor Frankenstein are each obsessed with death. Hamlet's whole story is a philosophical preparation for death; Victor's is an intellectual refusal to accept it.

You know honestly I think there's a Dracula, a Wolf Man, and a Frankenstein's Monster in all of us. They are sides of our own character so that's why I think we can relate to them in terms of a 'I know how that feels' kind of thing.

I think our grandparents were Victor Frankenstein. I basically am the kind of deeply unnatural creature that Mrs Shelley instinctively dreaded. I not only eat her sacred cows but I eat them with ketchup. While I take her point, I think that transgressive monstrosity and tampering with the life force are both a lot more fun than she suspected.

I have been 'absorbing' people - their voices, their mannerisms - all my life, to the point where I am a sort of Frankenstein of different people. My own speaking voice is, in fact, a mixture of how my two best mates speak, because they are cool, and I am not.

For me, it was never a choice not to play the game because I was never attracted to it in the first place. I have plenty of friends who get stalked by the paparazzi, but it's not anything you'd aspire to. Fame is like Frankenstein's monster - once you've created it, it can get out of control.

Back when the concept of organ transplants qualified as science fiction, novelist Maurice Renard wrote a thriller called 'Les Mains d'Orlac.' Call it a bastard offspring of 'Frankenstein;' its plot revolved around the old theme of Science Giving Us Stuff We Shouldn't Have - in this particular case, restoring severed body parts.

Because we had to convince the scientific members of Transylvania that with the procedure I was using on the creature, Dr. Frankenstein could be taught to be a civilized human being, what I called a man about town. Instead of a monster who's going to kill their children, it was someone who could sing and dance.

So much has been done, exclaimed the soul of Frankenstein - more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.

We thought it was only in science fiction that things created by humans could actually take over what is inherently our human heritage. But Thom Hartmann shows how we've already let that happen on a frightening scale - not in Frankenstein's monsters or Kubrick's creeping computer Hal - but in the corporations that present their friendly 'faces' to us as if we have nothing to fear from this ultimate usurpation of our rights as real humans.

'Frankenstein' did not invent the fear of science; the novel found its audience because it dramatized anxieties that already existed. Although popular entertainment can, over the long run, shape public perceptions, it becomes popular in the first place only if it addresses preexisting hopes, fears, and fascinations.

They don't find peace. It's pure bullshit. When something unspeakable happens, or when you do something unspeakable, it changes you. It takes you apart and reassembles you. You are a Frankenstein of circumstance, and the parts never fit back quite right and the life you live is a stolen one. You don't deserve to walk among the living, and you know it.

At 5 years old, I saw 'Abbott and Costello Meet Frankenstein,' and I was so scared when Costello sat himself down in the lap of the monster, not realizing where he was. My friends teased me. They were older, 8 years old. And my goal was to become a mad scientist and get back at them. And here I am, mad as hell!

I would compare my 'Frankenstein' to Cronenberg's remake of 'The Fly.' The monster in the original Fifties version of 'The Fly' was a crude, anatomical combination of man and insect, whereas Cronenberg's version exploited knowledge of DNA to depict him as a transgenic chimera.

Its contempt for citizens ... is so routine, and so unlimited, that the agency has become a kind of Frankenstein, running wild and terrorizing Americans at will. The IRS hypocritically requires mistake-free returns when its own books are in shambles. It demands exorbitant sums of money without regard to the accuracy of its claims. It doesn't hesitate to use every possible maneuver to get what it wants, sometimes destroying businesses -- and lives -- in the process.

I'd never imagined myself writing at all until I was almost 30. And horror films weren't to my taste, at least the super popular (slasher-y) ones of the day back then. The first novel I ever loved as a kid was Frankenstein, and I was always a crazy Hitchcock and Polanski fan... but I never saw myself - a square spazzy girl from the suburbs - writing anything that would horrify anyone. Or so I thought.

Oh Young Frankenstein - that's right, Body Heat, Raiders Of The Lost Ark. I mean, you know, it - they just keep going on and on and on - Mission: Impossible. And, you know, I think that the writers are having so much fun now with them that, you know, half the time, you know, people are just sitting around saying - trying to think of what's a great movie to copy.

What am I, a Frankenstein? What am I, some kind of an ogre? I'm a good person; I'm a warm person.

I don't think 'Freak Dance' is a parody; it's more reference than anything. People don't think of 'The Rocky Horror Picture Show' as a 'Frankenstein' parody. It's kind of like that.

I'm primarily thought of as a rocker, and certainly 'Frankenstein' had a very dramatic power rock image. It was almost a precursor of heavy metal and fusion. But I also love jazz and classical and if there's one common thread that runs through all my music, it is blues.

I guess that I'm primarily thought of as a rocker, largely because of 'Frankenstein' being such a heavy song - you know, it was really hard rock, almost a precursor of heavy metal and just the image of the synthesizer. I happened to be the first guy to get the idea of putting a strap on the keyboard.

'Star Wars' is life, but 'Star Wars' is also not very good, which is why 'Rogue One' - a Frankenstein's monster assembled from a butchered first cut and an excessively large space antenna that only exists to add another 30 minutes to the film - is one of the better 'Star Wars' movies.

Every universe, our own included, begins in conversation. Every golem in the history of the world, from Rabbi Hanina's delectable goat to the river-clay Frankenstein of Rabbi Judah Loew ben Bezalel, was summoned into existence through language, through murmuring, recital, and kabbalistic chitchat -- was, literally, talked into life.

Ever since we achieved a breakthrough in the area of recombinant DNA in 1973, left-wing nuts and environmental kooks have been screaming that we will create some kind of Frankenstein bug or Andromeda Strain that will destroy us all.

Frankenstein feels like an ancient tale, the kind of traditional story that appears in many other forms. It appeals to something very primal, but it's also about profound things, the very nature of life and death and birth - about, essentially, a man who is resisting the most irresistible fact of all, that we will be shuffling off this mortal coil.

I saw 'Dracula,' 'Frankenstein,' 'The Wolf Man,' 'The Invisible Man.' I saw all those guys on the big screen at RKO in the Bronx. I just always loved that stuff. I loved other stuff, too. That's the thing. That wasn't all I wanted to be.

I hated the sight on TV of big, clumsy, lumbering heavyweights plodding, stalking each other like two Frankenstein monsters, clinging, slugging toe to toe. I knew I could do it better ... circle, dance, shuffle, hit and move ... make an art out of it.

Zombies, vampires, Frankenstein's monster, robots, Wolfman - all of this stuff was really popular in the '50s. Robots are the only one of those make-believe monsters that have become real. They are really in our lives in a meaningful way. That's pretty fascinating to me.

Like any normal fifth grader, I preferred my villains to be evil and stay that way, to act like Dracula rather than Frankenstein's monster, who ruined everything by handing that peasant girl a flower. He sort of made up for it by drowning her a few minutes later, but, still, you couldn't look at him the same way again.

If the hideous monster Frankenstein came face to face with the monster of marijuana he would drop dead of fright.

I'm very laid-back, and I meet people just by accident - never through agencies or anything like that. I met Paul Morrissey, who directed me in 'Dracula' and 'Frankenstein,' on a plane from Rome to Munich. He asked for my telephone number and wrote it in his passport.

The Frankenstein of Communism is the product of the Jewish mind, and was turned loose upon the world by the son of a Rabbi, Karl Marx, in the hopes of destroying Christian civilization - as well as others. The testimony given before the Senate of the United States which is take from the many pages of the Overman Report, reveals beyond a shadow of a doubt that Jewish bankers financed the Russian Revolution.

Mass consumption, advertising, and mass art are a corporate Frankenstein; while they reinforce the system, they also undermine it. By continually pushing the message that we have the right to gratification now , consumerism at its most expansive encouraged a demand for fulfillment that could not so easily be contained by products.

'Frankenstein' was all about the idea that, through electricity and the destruction of night, man creating light and darkness, we took on god-like powers and then abused them like gods, and we are only men. That's a story about man making a man in his own image. The inversion of natural order.