Terence Fisher Quotes

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Quotes By author - Starting with T - Terence Fisher

There are 19 quotes for the author Terence Fisher

Quotations 1 to 19 of 19 Results Page: 1

Chris Lee and Peter Cushing I can't speak too highly of them. In fact to my mind the best films were those in the early days, with Cushing and Lee.

You can't make a modern Frankenstein because it's all happening anyway. They're making Frankensteins out of those blighters whom they're sending up in rockets and space capsules they 're the modern Frankensteins.

Certainly Dracula did bring a hell of a lot of joy to a hell of a lot of women. And if this erotic quality hadn't come out we'd have been very disappointed.

We refused to have anything to do with anything mechanical. We wanted the monster to fit Chris Lee's melancholy personality.

I believe in building things up, naturally, but I've never isolated the monster from the world around, or tried to avoid showing him.

There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.

He 's ruthless only because of his ideals. Unfortunately he doesn't succeed. The thing fails and gets out of hand and takes charge of him. Idealism is the only excuse he could have and it's a great excuse.

The written word is the basic of everything. Most important, the idea, and after that, the dialogue. You can rehash the dialogue as you go along, it 's disgraceful to have to do this, but now and again you have no choice.

I go for basic things in drama. Fire is a pictorially very exciting thing, isn't it .

The basic idea was the absolutely true story of thugee. The producers felt it was better in black and white because it was a documentary story rather than a myth.

We're not as materialistic and income-tax conscious as we think. At the moment our superstitions are tucked away, but come out sometimes in strange ways sex crimes, black masses.

The process is very gradual, you see. At first there's the tainted stage; they know what will eventually happen to them if they go on but they say, 'Oh God, don't do it to me do it again, please, please.'

The one case where I was afraid we'd gone too far was in Werewolf, with the syphilitic who gets stabbed over his chessboard. It's horrid when you see those warts with the hairs growing out of them, isn't it?

The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.

Do I believe in the supernatural? Oh yes, certainly. I can't believe, I can't accept that you die and that's the end. Physically maybe it is a fact. But there's something about the mind that's more than that.

He never menaces her at all; he's saying, 'Come to me...' I like working with Miles Malleson. Give him two lines and he'll work throughout the scene.

One blob of red in the wrong place and the audience isn't looking at the hero, they're looking at a patch of curtain (or something similar) and your whole effect is lost.

There things can be ironed out during your period of rehearsal. But on the screen you can't sit down and predict exactly what you are going to do. I know Hitchcock says he does, but I don't believe him for a moment. Even your actors go in cold.

I find personality so important; I like a more the artificial style than this realism. I like the Victorla period especially. Most of what I learned film wise was in the cutting rooms.

Quotations 1 to 19 of 19
Results Page: 1

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