John Landis Quotes
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Quite honestly, ... there`s never been stunt driving before or after as spectacular or elaborate. That`s all real, no (computer trickery).
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In my career, my movies tend to polarize critics.
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Movies are brand new. Film is less than 150 years old. It's brand new, compared to any other art form, all of which are thousands of years old.
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Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.
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Directors, like actors, get typecast.
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The pedigree's pretty high. For people who are really scary movie fans, this is nirvana. If you're in the mood to get scared, just watch this every week. It'll creep you out.
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Anytime something makes money, no matter how outré, it's instantly mainstream. A good example is rock 'n' roll. When rock 'n' roll was first played to a wide audience it was considered the devil's music.
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I grew up in Los Angeles, and I've made movies all over the world... I've been in New York, Norway, Chicago, Pittsburgh, Philadelphia, London - I've been in all these cities, shooting away in the winter, thinking, 'People who choose to live here are insane.
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Marketing does have a lot to do with the success of a film. But even more so, and especially since home video, I've learned that a movie has a life of its own. A movie goes out there, and it exists, and it continues. I'm always fascinated by what movie people bring up when they approach me.
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For some reason, people think of me as someone who can do anything I want. And I'm not. You know, I need someone to put up the money.
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Universal rushed us. We started shooting without a script that was totally completed.
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I have always loved you.
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There have been 14 versions that I can find of Burke & Hare movies. They have all been horror films and all the movies have taken place in Victorian times, which doesn't make any sense.
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People don't understand this: Ideas are important, but they're not essential. What's essential and important is the execution of the idea. Everyone has had the experience of seeing a movie and saying, "Hey! That was my idea!" Well, it doesn't mean anything that you had that idea. There's no such thing as an original concept. What's original is the way you re-use ancient concepts.
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I'm very lucky to have worked in the '70s. It's a different industry and distribution is in a state of flux. It's all different platforms, they're doing this video-on-demand thing and also playing the film theatrically. It's funny to me: In the States it's an arthouse movie.
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Well, the bottom line is that I'm extremely pleased with 'The Stupids.' I'm pleased that it's coming out, and it should look good. It's nice looking, with the colors and stuff. I made it for kids, and I really would like them to see it.
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They sought out rap music to attack, but you don't hear that anymore because it made too much money. They use Che Guevara to sell soft drinks. If something comes out that is radical and it's successful, then it's no longer radical. It's co-opted.
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You always want to do something different. I enjoy the process. I like making movies, and it's increasingly hard to find a movie you'd want to make.
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The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.
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It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'
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The idea of doing a children's film is different, but quite honestly I like doing anything - any genre. I've only made one Western, which was 'Three Amigos,' but I would love to make a serious Western. I'm just wide open.
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After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.
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I would very much like to make Westerns. I love Westerns. I've worked on many Westerns in my youth, in Spain and here, and I love working on them.
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What's interesting as a director, and even studio executives don't understand this, is that if you're directing a $200 million movie with six million people, it's the same as directing a $25,000 movie with three people. The director's job is, "You stand there and do that," or "This is the shot I want." The logistics change, but the job remains the same. And I enjoy the job.
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I grew up thinking of snow as a luxury you visit.
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I am very direct and I tend to treat everyone exactly the same, which sometimes gets me in trouble because some movie stars feel like they should be treated differently. But, when you're dealing with good actors, they really appreciate it.
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The field (of filmmaking) is suddenly sexy, ... so it's deluged with these wannabes who say 'I don't want to be a secret agent, I'll be a filmmaker.' I think a lot of people are really kind of naive.
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Because of the cumbersome nature of filmmaking, it's only recently that it has become available to the masses, with digital equipment and laptop computers. You can now actually make a pretty serviceable movie for very little money by yourself.
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Rock 'n' roll started to make so much money and generated so much income for the record companies that suddenly it was no longer evil.
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Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
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