If I fail, the film industry writes me off as another statistic. If I succeed, they pay me a million bucks to fly out to Hollywood and fart.

The guy that made me wanna make movies... and this is off the wall-is a guy named Michael Pal, the British director.

The most realistic blood I've seen is when Marlon Brando gets beat up in On The Waterfront.

I thought Godzilla was a mess, the monster had no character and the humans didn't either. They forgot to make the movie that went along with all these wonderful effects.

As great as Ed is, the wisdom out here is that he can't carry a movie. They'll pay him $3 million to be the second banana in Julia Roberts things. But they won't put up $3 million for an Ed Harris movie.

There are so many factors when you think of your own films. You think of the people you worked on it with, and somehow forget the movie. You can't forgive the movie for a long time. It takes a few years to look at it with any objectivity and forgive its flaws.

If I fail, the film industry writes me off as another statistic. If I succeed, they pay me a million bucks to fly out to Hollywood and fart.

As a filmmaker you get typecast just as much as an actor does, so I'm trapped in a genre that I love, but I'm trapped in it!

I really believe that you could do horror very inexpensively. I don't think it has anything to do with the effects, the effects are not the most important parts.

I like guys who are understandable and good guys who are flawed.

I also have always liked the monster within idea. I like the zombies being us. Zombies are the blue-collar monsters.

I think you're only free if you're working on very low or huge money.

If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.

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

Ever since 'Lassie' and 'Old Yeller', I won't watch animal movies. Animals in movies always die.

For a Catholic kid in parochial school, the only way to survive the beatings - by classmates, not the nuns - was to be the funny guy.

Horror will always be there, it always comes back, it's a familiar genre that some people, not everyone - it's sort of the cinema anchovies. You either like it or you don't.

I always thought of the zombies as being about revolution, one generation consuming the next.

I can't really make fun of zombies. They're not liars. They're not cheats.

I don't think you need to spend $40 million to be creepy. The best horror films are the ones that are much less endowed.

I expect a zombie to show up on 'Sesame Street' soon, teaching kids to count.

I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.

I grew up on the old EC comic books before the Comics Code in North American and with all sort of good-natured fun. I never had nightmares I think because all of the old horror stuff that I was exposed to was well meaning in a certain sense.

I keep a little notebook of things that I can do to the zombies that might be silly and fun.

I really liked the helicopter pilot in 'Dawn of the Dead', when he gets bitten and comes out of the elevator. That guy was amazing. He did this incredible walk that we didn't even know about until we started shooting.

I sympathize with the zombies and am not even sure they are villains. To me they are this earth-changing thing. God or the devil changed the rules, and dead people are not staying dead.

I'll never get sick of zombies. I just get sick of producers.

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.

My zombies will never take over the world because I need the humans. The humans are the ones I dislike the most, and they're where the trouble really lies.

On the other side of that coin, and far outweighing it, is the fact that I've been able to use genre of Fantasy/Horror and express my opinion, talk a little about society, do a little bit of satire and that's been great, man. A lot of people don't have that platform.

People called '28 Days' and '28 Weeks' zombie movies, and they're not! It's some sort of virus; they're not dead.

When I was old enough to go to movies alone, I got to see 'Frankenstein' and 'Dracula' on the big screen. I just fell in love with them.

Zombies are always moving fast in video games. It makes sense if you think about it. Those games are all about hand-eye coordination and how quickly can you get them before they get you.

The zombie was just an intriguing character; it is a sympathetic character.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.