Джордж Ромеро цитаты

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Джордж Ромеро

Дата рождения: 4. Февраль 1940
Дата смерти: 16. Июль 2017

Джо́рдж Э́ндрю Роме́ро — американский кинорежиссёр, сценарист, монтажёр и актёр.

Цитаты Джордж Ромеро

„Я всегда считал болтливость чем-то вроде сифилиса: не смертельно, но омерзительно.“

„Сумеешь изменить одну вещь — изменится всё.“

„Наш мир был неплохим местом до тех пор, пока мы не захотели сделать его лучше.“

„Реальность, как мне кажется, гораздо страшнее любой истории о мертвецах, призраках или инопланетянах.“

„Из всех форм прогресса у меня вызывает отвращение лишь прогресс человеческой морали. Но поскольку на самом деле его не существует, то о прогрессе я стараюсь не говорить вообще.“

„Я старомодный тип, я люблю, чтобы мне в кино продвигали какую-нибудь мораль, какие-нибудь ценности. А в современных фильмах — сплошное мясо.“

„Больше всего мне нравятся положительные люди, в которых есть изъян.“

„Я вырос с этой идеей — я американец, американцем быть круто. Я думал, что мы — единственные хорошие парни на свете. Со временем я понял, что это ничего общего с действительностью не имеет. Я просто не смогу тебе объяснить, как я разочарован. Никакой гордости не осталось в том, чтобы быть американцем.“

„When there's no more room in hell, the dead will walk the earth.“ Dawn of the Dead

„A zombie film is not fun without a bunch of stupid people running around and observing how they fail to handle the situation.“

„I didn't play practical jokes at home. I had a strict upbringing, which is part of my rebellion. I was raised Catholic and went to parochial school, which is why priests and nuns appear in my movies a lot, and I don't have very much nice to say about them.“

„Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you.

George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going.

Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others.

George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.“
George A. Romero: Interviews

„The neighbors are scary enough when they're not dead.“

„All of a sudden, a great crash sounded, and even the calm, collected Peter flinched at the noise. The closet door flew open and two small children, a girl and boy, burst out into the room. They were a ghastly sight, even to Peter’s cynical eyes: the little girl had no left arm, the boy had been bleeding from a great wound in his side. Peter felt a touch of sympathy for the pathetic creatures, but then he reminded himself—they were dead!“ Dawn of the Dead

„My stories are about humans and how they react, or fail to react, or react stupidly. I'm pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.“

„The men crashed back through the store and Peter moved right to the racks of weapons. He pulled down a gorgeous high-powered rifle that was equipped with a sophisticated scope for sighting. “Ain’t it a crime!” he ejaculated. “What?” Steve asked, confused by the man’s sudden outburst. “The only person who could ever miss with this gun,” Peter said, looking through the telescope, “is the sucker with bread enough to buy it.“ Dawn of the Dead

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