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
To me, the zombies have always just been zombies. They've always been a cigar. When I first made 'Night of the Living Dead,' it got analyzed and overanalyzed way out of proportion. The zombies were written about as if they represented Nixon's Silent Majority or whatever. But I never thought about it that way.
Interpretation
The quote reflects the idea that symbols in art can be interpreted in many ways, but the creator may have a simpler intention.
George A. Romero emphasizes that his portrayal of zombies in 'Night of the Living Dead' was not intended to serve as a political symbol or social commentary, despite numerous interpretations that attempt to ascribe deeper meaning. He suggests that the audience often overanalyzes artistic works, while the creator's vision can be much more straightforward than those interpretations imply.
In practice
In a film studies lecture discussing the nature of horror films.
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.
I'm more alarmed by people reacting violently to the violence in my films than I am by the violence in films.
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.
The trauma of the Sixties persuaded me that my generation's egalitarianism was a sentimental error. I now see the hierarchical as both beautiful and necessary. Efficiency liberates; egalitarianism tangles, delays, blocks, deadens.
Truth will do well enough if left to shift for herself. She seldom has received much aid from the power of great men to whom she is rarely known and seldom welcome. She has no need of force to procure entrance into the minds of men.
I never think about Wall Street - why should I - but to go down there so often while filming 'Working Girl,' to become acquainted with this whole different world, and to find out what goes on behind the scenes is so interesting. There's so much of the city that you don't really bother to investigate. Ahh... New York.
When we ask for the abolition of the State and its organs we are always told that we dream of a society composed of men better than they are in reality. But no; a thousand times, no. All we ask is that men should not be made worse than they are, by such institutions!
One of the best predictors of policy around is Thomas Ferguson's investment theory of politics, as he calls it - very outstanding political economist - which essentially - I mean, to say it in a sentence, he describes elections as occasions in which groups of investors coalesce and invest to control the state.
I quote others only in order the better to express myself.
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