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.
George A. RomeroRead
I'm more alarmed by people reacting violently to the violence in my films than I am by the violence in films.
Interpretation
The quote suggests that the audience's violent reactions are more concerning than the violence depicted in films.
George A. Romero expresses a profound concern about how people react to the violence portrayed in his films, positing that the real issue lies in the audience's capacity for violence rather than the fictional violence itself. This calls into question the responsibility of filmmakers and the desensitization of viewers to violent content, suggesting that an alarming acceptance or imitation of violence can be more problematic than the portrayals themselves.
In practice
During a film discussion panel about media influence.
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.
Because of 'World War Z' and 'The Walking Dead,' I can't pitch a modest little zombie film which is meant to be sociopolitical.
I've always felt that the real horror is next door to us, that the scariest monsters are our neighbors.
My films, I've tried to put a message into them. It's not about the gore; it's not about the horror element that are in them. It's more about the message, for me. That's what it is, and I'm using this platform to be able to show my feelings of what I think.
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.
There aren't that many monsters. It's very hard to create a new monster.
My hypothesis is that for people who are both trained and inclined to think in rigorously logical ways, it is particularly difficult to adapt to the Soviet system of doublethink.
Or about how when you're a child, to stop you from following the crowd you're assaulted with the line "If everyone jumped off a bridge, would you?" but when you're an adult and to be different is suddenly a crime, people seem to be saying, "Hey. Everyone else is jumping off a bridge. Why aren't you?
I had a sense then of how if we truly understood how many of the unimportant things we do will end up outliving us, we'd never be able to go on.
In solitude we are in the presence of mere matter (even the sky, the stars, the moon, trees in blossom), things of less value (perhaps) than a human spirit. Its value lies in the greater possibility of attention.
The imagination never forgets; it is a re-membering. It is not foundationless, but most reasonable, and it alone uses all the knowledge of the intellect.
When the world is itself draped in the mantle of night, the mirror of the mind is like the sky in which thoughts twinkle like stars.
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