Rob Zombie Quotes

Yes, I was hired by Universal because they needed a comedy director. They had seen Scandal and liked it. I saw an opportunity even in those comedies to begin my project of American films.

I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.

I think at the point when they were first starting to talk about a movie, it was a little bit different back then.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

It takes two years to make a good film.

I started as an actor, then became a theater director. I loved acting but didn't feel as confident as I needed to be, so I started directing theater; then I played in some movies, and then I felt the need to do my own stuff.

One needs to be super intelligent and have an above-average IQ to be able to work in movies.

I want to do movies with great stories. The content should be strong.

As I walked down the street while talking on the phone, sophisticated New Yorkers gaped at the sight of someone actually moving around while making a phone call. Remember that in 1973, there weren't cordless telephones, let alone cellular phones.

I was watching 'Sabrina the Teenage Witch' - the episode where Sabrina and her friend make a vampire movie for college. I wanted to see if it would be fun to make a horror movie.

Inspired music arises from an inspired movie which arises from an inspired script.

Experience is the universal mother of sciences.

Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.

In all honesty, I've written movies that have been made, and the process has not been as satisfying as writing for television.

Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.

There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.

In an ideal world the script is written lean and tight and therefore there are no scenes left on the cuttring room floor and therefore no extended edition.

In writing scripts now, having made a film, I'm much more conscious of what it means to shoot and edit a movie, and that affects the writing.

History, if thoroughly comprehended, furnishes something of the experience which a man would acquire who should be a contemporary of all ages and a fellow citizen of all peoples.

With the films I've done, I've written on them, I've acted in some of them. And even ones I haven't acted in, I've acted them out just to be sure another actor can do them.

So many people mistakenly think that the rest of his [John Cassavetes] pictures and the ones we did were improvised, which isn't true. He wrote all the rest of them.

I like Stallone, because he writes. He sits down with a blank page and comes up with another Rambo movie. That isn't very easy for anybody. He's made it successful on top of that.

Working in 3D I didn't experience much of a difference, except that the cameras are very big so they can't be moved around with as much ease. It was more like, when you've seen photos of cameras from the 1930s being moved around with these huge cranes. So there was something quite sort of old-fashioned about it almost.

Eighty percent of a picture is writing, the other twenty percent is the execution, such as having the camera on the right spot and being able to afford to have good actors in all parts.

When you can sit down with a plain sheet of paper in front of you and make some notes, and, little by little, you see it take shape and become a concept for a movie or a TV show. That's a real thrill. You watch it go from notes on a paper to a meeting with writers and directors and actors. I can't think of anything that's more exciting.