John Carpenter Quotes

I made a decision back in 1978 that, in a trade off for money when I directed Halloween, I would have my name above the title in order to basically brand these movies my own.

When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.

First of all, I was a wrestling fan when I was young. Even when I figured out what wrestling was, I was still a fan.

I just aim for basketball season to start. I don't really care about anything else in life.

I can play just about any keyboard but I can't read or write a note.

I enjoyed 'The Avengers.' I couldn't do that kind of movie though. Superheroes aren't my deal.

Way back in the '70s, I was approached to talk about the story I'd write for a Spider-Man movie. They also talked to me about Batman. I had to think about it, but that was way, way back when.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them - electronic, but like an orchestra. And I could play it all myself. That was exciting.

I'm pretty happy with who I am. I like myself and what I'm doing. I don't need to be the world's greatest director or the most famous -- or the richest. I don't need to make a whole lot of great films. I can do my job and I can do it pretty well. This is the realization I've come to, later in life. It's called growing up.

One of my heroes is a composer named James Bernard, and oh my God... I can still listen to his music today and be stirred and moved by it. But I think that you fall in love with... Well, again, when you're young, it really is more powerful. Much more terrifying.

Movies are pieces of film stuck together in a certain rhythm, an absolute beat, like a musical composition. The rhythm you create affects the audience.

As a filmmaker, it's about surviving and lasting. So many talented people that I've known in my life - directors and writers - just haven't made it and haven't had a chance.

I stopped directing in 2001 for - oh, damn - four or five years, until I did the TV series 'Masters Of Horror.' I had been working steadily as a director since 1970. That's a long time. I was burned out.

A lot of it [success] is luck. That's a huge part of it that no one wants to talk about. You just got to be in the right place at the right time.

I had a talent for scoring films; I just developed it.

Halloween put me on the map, and I'm very sad to hear of his death.

Horror found me. I got into the movie business to make westerns.

Remakes, in general, are a result of necessity being the mother of invention. They can't open movies consistently and break through the advertising clutter that's out there.

You play with everything you've got. I'm not a lover of cheap tricks. I've always loved playing with people, but there's no rule about it. You try everything you can.

Horror is always the same. It changes with the culture and changes with technology. The stories are always the same. There are just two basic stories in horror, two simple ones -- evil is outside and evil is in here [points to his heart].

What scares me is what scares you. We’re all afraid of the same things. That’s why horror is such a powerful genre. All you have to do is ask yourself what frightens you and you’ll know what frightens me.

What a director does... essentially, it's storytelling, but a director also controls the feeling and the sounds and the texture. It's an act of creation, like a symphony or a painting or a story. But with different tools.

Child pornography is taboo. There are really no such things as snuff films. That's a legend. But movies are like pieces of dreams, and we don't need to go into those dreams. Those dreams are beyond. Child pornography - it's horrible. Human suffering is a horrible thing in real life.

When somebody who makes movies for a living - either as an actor, writer, producer or director - lives to be a certain age, you have to admire them. It is an act of courage to make a film - a courage for which you are not prepared in the rest of life. It is very hard and very destructive. But we do it because we love it.

I think there are certain subjects I don't want to tackle, that I don't think I could do a good job with. I don't think I'd be good with... broad comedy? I don't know. Maybe I would.

I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.

Horror has been a genre since the beginning of cinema, all the way back to the days of silent films. I don't think it will ever go away because it's so universal. Humor doesn't always travel to other countries, but horror does.

Evil hiding among us is an ancient theme.

Directing is all about storytelling. It's not about equipment, or anything else.

Horror is a reaction; it's not a genre. Somebody's life would have to be in danger for it [story] to be a horror story.

To survive you have to withstand the changes in the business. This business has gone through so many changes since I was young and now it is on to something else. It is all weird today, for me, because I am from the old times. You just have to keep adapting. Isn't that Darwinism? The creature that adapts to its environment survives.

There are a lot of movies that I don't care about, especially not remakes.

I've gone through various periods with superheroes. They work in the right hands, but they don't work in other hands. It's tricky. But any movie is tricky. It's impossible to say, 'This is what you do in any situation.

I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.

The strongest human emotion is fear. It's the essence of any good thriller that, for a little while, you believe in the boogeyman.

Anybody can make a movie, if you have the will. The digital revolution has made it very inexpensive to make a film. Anybody who wants to can do it.

There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.

Horror stories have always worked on film. It's where they work. That's where vampires and ghosts and UFOs are real. They're not particularly real in life, but they're real on the screen. It's the communal aspect of movie-watching.

When you have no money, you need invention.

There's nothing better than being in an asylum, if you're going to have a bunch of crazy people in an asylum, and they're all beautiful Hollywood actresses.

We all question our sanity. Everyone has had an experience of loss of control of something.

In Halloween, I viewed the characters as simply normal teenagers. Laurie, Jamie Lee's character, was shy and somewhat repressed. And Michael Myers, the killer, is definitely repressed. They have certain similarities.

I'm always involved with casting my movies. I have final word on it.

From a will: And to my communist nephew Oswald, I leave the sum of 10,000 pounds - to be shared equally with his fellow Britishers.

It [horror genre] never dies. It just keeps getting re­invented and it always will. Horror is a universal language; we're all afraid. We're born afraid, we're all afraid of things: death, disfigurement, loss of a loved one. Everything that I'm afraid of, you're afraid of and vice versa. So everybody feels fear and suspense.

It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.

To make Michael Myers frightening, I had him walk like a man, not a monster.

One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.