Eli Roth Quotes

Much of my youth was spent in the parking lot or inside a Dunkin' Donuts.

I've always dreamed of having a year-round haunted house.

You know, I'm from Boston, and in Boston, you are born with a baseball bat in your hand.

The scariest people are usually the sweetest.

Life is a series of avoiding horrible situations until ultimately you're dead. That's how I feel about things.

'Hostel' is that's how I feel about what's going on in Iraq. There's people that just want money and people are being sacrificed for it.

I have no tattoos. There's nothing I've even been that into to get a tattoo of it.

What is important to me is that people know I respect the business of making movies.

I've always been fascinated by the idea that there's no such thing as evil; it's all in your point of view. To one group a suicide bomber is the antichrist and to one he's a hero.

You know, the best thing you can say about a horror film is, 'Don't see it.'

I think horror should never be safe, whether it's violent or non violent.

Anytime you're the first to speak out against something, there's going to be a backlash.

For a long time, I had a crazy girl dating habit.

If I don't come home covered head to toe in fake blood then I haven't done my job as a horror director.

When I was 22, I had this horrible psoriasis outbreak. It was all over my legs, I couldn't walk because my legs were cracked and bleeding. Weird things like that can happen to your body.

There's fear in everything, but we can't just succumb to that. We have to suppress it, so we get used to suppressing fear to make it through the our day. Otherwise, we'd become paralyzed by them.

One of the great elements of the supernatural is having that mystery and letting people's imaginations run wild with it.

As a kid, I was the neighbourhood baby-sitter - very responsible, always in charge.

Believe it or not, but I was a camp councilor for three years. I love kids.

The film, 'Aftershock,' for me is really about how the minor problems in life that we think are so major ultimately mean nothing when a tragedy happens, when a real problem happens.

Chile could work as a double for L.A.; it's very production-friendly and there's terrific talent down there.

'Troll 2' is one of the rare sequels where you don't have to waste time watching the first one, since the films have absolutely nothing to do with one another.

I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.

I look at careers like Ben Stiller and think that's a great career to have where you're doing movies that you write and direct, and also act in films, although he's primarily an actor.

Creative writing and shooting are muscles that atrophy. But when you work them, you become a self-generator who can branch out.

In musical theater, if you have a song, it has to advance the plot. If you have a song in a musical and it does not advance the plot, it gets dropped.

Even post-WWII, nobody talked about the Holocaust. It wasn't until the '50s that people started talking about it.

Everyone is so terrified of being labeled a racist.

I've always been a fan of 3D, going back to movies in the '50s. I was part of the early '80s 3D craze, which was coming at you in Jaws 3D, so I've always wanted to make a 3D film.

I can think of endless horrible things to do to people!

I'll direct any movie starring a monkey or the Olsen Twins. Preferably both.

Horror audiences don't need to see some TV actor they're familiar with.

Hopefully we'll get to a point where people realize movies don't cause violence. It just reflects the violence going on in the culture.

I generally follow my own compass and make films about what's scaring me.

I get a little too obsessive with work.

I want it to be able to hold up in 30 years' time. So, I'm really thinking about everything.

I feel like in the '90s, horror just lost its way and everything became so safe and watered-down.

I always feel that there's no violence in a movie - it's not real, it's a magic trick. Nobody is really dying. In fact, the people that die in my movies have gone on to become extremely successful!

Quentin Tarantino faced the same backlash when his films came out until eventually people felt they were actually much smarter.

All the copycat movies were always PG-13 and people said: "Nobody wants violence."

I think in the late '80s and early '90s horror was dead.

I want to have an ending where people say: "That's the most shocking ending I've ever seen in a mainstream horror film."

Imagine trying to relive your worst break-up, your worst fight, the most painful death of a loved one, and just really relive it step by step, and bring it up and apply it to the scene you're in.

I want a movie that 30 years from now, people can look back and see it as a reflection of where the culture was at - as a barometer of the culture.

Sometimes you have this tragedy which turns into an incredible opportunity.

I hear what people say, I read all the reviews, all the blogs, and I am always curious to hear it, because you can't always listen to the good press, you have to hear the bad press, too.

'Beatrice Cenci' was an amazing film. If it were released today it'd win Best Picture. It's so well done, it's so contemporary, and the filmmaking is so smart.

I think you should make movies as long as the story dictates.

It's just assumed that a horror sequel is going to be bad. It's never going to be as good as the first one.

I love movies that have that resonating scare, that really get under your skin and make you think.