Paradise is too perfect for humanity.— Dario Argento
The most emotional Dario Argento quotes that are little-known but priceless
Films are dreams. Many, many critics say to me that my films are not good because they are too unbelievable, but this is my style. I tell stories like they are dreams. This is my imagination. For me, it would be impossible to do a film that is so precise, that resembles real life.
Horror by definition is the emotion of pure revulsion.
Terror of the same standard, is that of fearful anticipation.
The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.
I wanted to get back to my style of 20 years ago after a long period of exploring horror and fantasy themes.
My life and career is my own adventure.
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• Quotes about Film
Americans are very enthusiastic. We have a new generation of moviegoers who love great horror films. I am a very imaginative man, and for me, it's easy to speak with my dark side. I have very beautiful, interesting nightmares.
The Opera was a very cold film, a hopeless and dark film, no hope, no love.
I went through a phase where I thought nostalgia was a bad thing.
I've been lucky enough to have had the luxury of being able to make the picture I've wanted to make each time on my own terms and without compromise.
But no one should have the right to manipulate my films in the first place.
It irritated me that my fans kept wanting me to retread old ground.
'Macbeth' is one of the best operas ever, and doing it was a great experience.
I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
I used a Luma crane, a wounderful device;
it makes the camera able to go anywhere. It was also used on Friday the 13th Part 3.
When I was five. That's when I started to love film.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
I'm very interested in portraying homosexual man and woman in my films because I'm interested in their lives and their problems.
I like women, especially beautiful ones.
If they have a good face and figure, I would much prefer to watch them being murdered than an ugly girl or man.
Young girls of 13 or 12 are great actors.
It's incredible that they censor films. It's sad.
I like to watch many things, especially strange films and something recent, not just the story.
Each film I make changes me in some way.
When I start the picture I'm one person and by the time I finish I'm another.
Every writer, to some extent, writes about himself.
So I haven't thought about the critics for a long time.
Horror is like a serpent; always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious.
I think the camera was always my obsession, the camera movements.
Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I've never gone into analysis. But Freud opened a door, I know.
When I see a film I've finished, it's like another person made it. Like another mind.
Without psychology, the horror film doesn't exist.
The process of writing and directing drives you to such extremes that it's natural to feel an affinity with insanity. I approach that madness as something dangerous, and I'm afraid, but also I want to go to it, to see what's there, to embrace it. I don't know why, but I'm drawn.
When I was a teenager, I read a lot of Poe.
In each of my characters there is a little of me.
Not strictly autobiographical but a little piece of my soul.
But you know, as you say, the original versions of my films are getting out there, slowly.
Maybe when I stop making movies, I'll understand my work better.
This is my life - I want to tell stories.
There is something huge inside me that pushes me to tell stories, and tell stories for an audience and everybody.
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
I want to do what I want when I want to do it not be dictated to by audiences.
Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.
My daughter, Asia, has been in many of my movies.
I love working with her. In the beginning, I was not supportive of her being an actress, but now I think she is fantastic.
You must push everything to the absolute limit or else life will be boring.
I wanted something new, the supernatural.
The witch, the sorcerer, I love this. I love the films of the witch and sorcerers and magic, its wonderful!
Even in the former Soviet Union, they have good copies of my movies.
I also don't like films that are made just to make money, no this kind of film I don't like.
If you don't like my movies, don't watch them.
I like films to have something inside, I don't mean a message, I mean something from the soul.
I like women, especially beautiful ones.
If they have a good face and figure, I would much prefer to watch them being murdered than an ugly girl or man. I certainly don`t have to justify myself to anyone about this. I don`t care what anyone thinks or reads into it. I have often had journalists walk out of interviews when I say what I feel about this subject.
I first came to cinema as a passionate filmgoer, when I was a child.
Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
I'm Dario Argento, and my style is something recognizable I think by the audience.
In Italy the censor is very old and there are many judges and psychiatrists who analyse you.