Quotes of All Topics . Occasions . Authors
Some of the most intelligent people I've met in my life are priests and pastors; now, a lot of them aren't that, though. Some of the most sanctimonious and hypocritical people I've met are priests and pastors, also.
I think the single most important, fascinating, and complex aspect of human nature is that we all know, deep down, that we are not what we ought to be - or as John Doe says in 'Seven,' 'We are not what was intended.'
I think that the secular work environment in general is a place that's challenging for Christians to thrive in without getting caught up in materialism or in competitiveness or in things that are really not important.
I grew up reading comics - mostly Marvel - Doctor Strange was my favourite comic book and has remained my favourite as an adult. It's the only comic book movie property I've ever gone after. I felt uniquely suited to it.
We're all capable of being more than we presently are, and the effort that it takes and the will that it takes and sometimes the trauma and tragedy that it takes to force us into that kind of growth is the story of our lives.
'Orthodoxy' is the seminal book of ideas in my life. That book I've read more than any other book. It's the spinal column that leads up to my brain and informs the way I think. Flannery O'Connor is my favorite American writer.
I think that Christians who have an interest in filmmaking need to deepen their love for cinema. To be honest, that's what I think has been missing historically from the Christians who want to succeed in the Hollywood industry.
If you look at life with any honesty and intelligence, it's clear that human nature is dark, vile, selfish, and despondent. But I also see a force in human nature, namely grace, that sometimes works against our natural moral entropy.
I wasn't born into a religious home, but I was just not a materialist. I didn't believe the material world was all there was or, even, most of what there was. I always felt that I was part of a reality of which the majority was unseen.
I always liked the idea in 'Potter' that you don't choose the wand, the wand chooses you, and that relics decide when you're ready to handle them. I'm a cinephile first and a filmmaker second, and it's all swimming in the subconscious.
I love the horror genre for how cinematic it is. I gravitated, I think, initially, toward the horror genre because, of all the genres, I think it is the genre that is most friendly to the subject matter of faith and belief in religion.
I'm an orthodox Christian. When people ask me if I'm a Christian, I always want to qualify and know what they mean by that. I'm not a Republican, and I'm not right wing. I'm not a dispensationalist. I don't think the world's about to end.
People always complain that superhero movies end with a big fight scene where they're tearing up a city, and there's a portal opening up, and they have to close it... I wanted to have a climactic scene that subverted those familiar ideas.
If we're not compelled to gain a deeper understanding of good and evil, how can we make the world a better place? How can we find ourselves at the end of our lives and know that our lives were significant? Those things would be impossibilities.
The marketing of my movies is something I have no control over! I usually am shown things to give input beforehand. Some directors get really involved with that, but it's not what I do. I don't know anything about marketing; it's not my skill set!
I can't imagine making something that is made only to be scary. For me, the darkness and scary material has to have meaning attached to it, or I can't invest the time and energy it takes to write and script or make a movie. It has to mean something.
My faith sometimes burdens me with the responsibility to think very deeply and long and hard about the choices I make creatively. There are projects I turn down because the material is too much a violation of what I believe. But that's true of anybody.
My interest in the comic goes back a long time, because I grew up reading comics, mostly Marvel Comics, and I always loved 'Doctor Strange' uniquely. It was the presence of the fantastical, the presence of the supernatural that was in it. The idea of magic.
I'm not standing above the audience trying to manipulate them as a puppet master or a trickster; I'm inside the story I'm writing and making and thinking about things very seriously and feeling very deeply at times, and trying to translate that into a narrative.
Work on your writing skills. Realize that Hollywood is an industry built to keep you out, and once you're in, it's designed to cycle you out - so you have to get up every day and work all day long to give Hollywood a reason to let you in, and then to keep you in.
The evil within the fantasy genre tends to be threatening to the heroes within the story, but not to the reader - or not to the viewer, in the case of cinema - and that's why I think it's more palatable and something that is more easily embraced for a lot of people.
I think it's important for anyone who takes cinema seriously not to limit yourself to just optimistic or happy movies. I think that's a problem. You've got to be willing to let the art of cinema take you into some darker places if you're going to make full use of it.
I became a Christian within a fundamentalist church. I saw 'A Thief in the Night' on a 16 mm. print when I was in the eighth grade, and I got the whole scare speech from our pastors. 'Do you want to be left here, left behind, for the Tribulation? If not, then come forward.'
I certainly hope they let me make another 'Doctor Strange.' I would do it in a second. I love this character. It's been the best filmmaking experience of my career; I work really well with these guys. It was a rewarding, collaborative process that I would do again in a second.
The momentum of my creative life and intellectual growth is still the momentum of breaking out of fundamentalism. Because of that, I'm very grateful for it. But I'm also grateful that at the center of it was something that I still believe to be true - those fundamentals of faith.
To me, the horror genre is the genre of non-denial. It's about admitting that there is evil in the world and recognizing that there is evil within us and that we're not in control and that the things that we are afraid of must be confronted in order for us to relinquish that fear.
I'm not interested in gothic storytelling or the horrific for its own sake. I'm always interested in it as a way of getting at larger ideas or important meaning. And you don't see that as much as you'd think in the history of horror cinema. A lot of times, it's scariness for scariness' own sake.
When I went to Europe a few years ago, I felt very at home there, and I loved standing in Notre Dame and looking at all the gargoyles on the outside of that building and realizing that, as scary and frightening as they were, what I was looking at was something that was built to the glory of God.
Corporate America limits the world to consumerism. Science can limit it to the material world. Even religion limits it to a lot of theories that can explain everything. I think we need cinema to break that apart and remind us that we're not in control, and we don't understand as much as we think do.
I came in with a very specific idea about what a Doctor Strange movie should be, which was rooted in the comics, and I thought it should be as weird and as visually ambitious compared to modern comic book movies as the comic was when it showed up in the '60s compared to other comic books at the time.
There's a clean simplicity to the plotting of 'Sinister,' whether you like it or not. And the scares are deliberate and even heavy-handed in a way. There's not a lot of sophistication or nuance in the plotting and not much restraint in the scares - and that's a part of what makes the movie accessible.
I went to a fundamentalist Christian high school and went to a fundamentalist church, and they were the greatest people; there was an amazing sense of community. The problem is when the messiness of real life enters, and the inflexibility of a moral code cannot cope with the realities of moral relativism.
I'm married to a nurse, and she is really, really ardent that - in screenplays or movies that I've worked on, that all the medical aspects be properly presented. I think that filmmakers ought to be respectful of all fields and not just be lazy and put nonsense in movies because most people won't know the difference.
I spent a lot of my adult life overcoming fear. It was a subject I knew a lot about, and it's one of the most important and most powerful human emotions. Fear is one of the greatest driving forces in the world. So I thought I could go into the horror genre and do things differently and contribute a different point of view.
You know, 'Top Gun' was the movie I saw in high school that made me want to be a filmmaker. I remember very specifically coming out of the Century 21 Theater in Colorado from seeing it, and my friend saying, 'What did you think of the movie?' And I said, 'I think I know what I want to do for a living.' That's a true story.
The role that blood plays in Christian iconography is huge - the washing of the blood, the shedding of blood, the blood of the cross, the crucifixion, the violence of that imagery. These are horrific, and yet they are at the center of the Christian faith. There is a place where beauty and terror merge, and it's at the cross.
I think after 'The Day The Earth Stood Still,' I really stopped thinking strategically about my career. I just did. At that point, it became crystal clear to me that you can strategise your career all you want, but it's so difficult to get a movie made, and creativity shouldn't be subjected to that kind of strategic thinking.
I think more than comedy, probably more than straight drama, I like horror. And horror I think I'm particularly good at. It's a mistake a lot of directors make, especially young directors. They always want to make the kind of movies that they most admire and aren't necessarily sensitive to what they have the best skill set for.
Interestingly enough, there is a really different dynamic when you're directing something that somebody else has written compared to when you're directing something that you've written. And there's a good and a bad side to it. I think the bad side is that you never feel the same level of connection to the material - you just don't.
My understanding of religion and science is that they're both arrogant schools of thought, and whether they acknowledge it or not they continually broadcast the idea that they have the world figured out. And what they don't know, they have a theory for which is probably correct. It feels like that shrinks the world, rather than expands it.
I really love horror novels, horror films, that are pointing at deeper ideas and thematic meaning. It's a way of thinking about films differently; that's what I think I like the most about it. I love the fact that's it's pointing at a more mysterious world - that the world is more of a mysterious place than we tend to let ourselves believe.
I have friends who are scientists, strict materialists, who don't think science and religion are compatible, but I just think most of us - unless you're a strict atheist materialist, which there aren't many of - most of us believe in something outside the material world. And if you do believe that, I don't know how you're not obsessed with it.
I created my own concept art and went in and did a 90-minute presentation that cost me a lot of money.And, the great thing is though, when I got the job, they had to buy all of it from me, because one of the set pieces in the middle of the movie was the scene I wrote, and they needed to own everything because a lot of it ended up being the movie we made, so I got all my money back. I was committed. I was going to outspend every competing director.