Wes Craven Thinking Quotations

I have a lot of fans who are people of color. I think, if nothing else, I kind of understand that sense of being on the outside looking in, culturally.

Rachel was one of the early names that came up. As soon as we started thinking about her, we really got excited. She has a quality that is missing in a lot of American girls now. You know, just a sense of wholesomeness. And I had seen her movies and I thought they showed such range. At one moment, she's doing 'Mean Girls,' which is sort of high-level comedy, in a way, and then she's doing this really beautiful love story.

I think the important thing about staying creative and staying sharp and original is not to look back too much.

If you think it, the camera will see it.

I think that there has been a slow recognition that there's a mind at work here, and there's a skill and some bit of artistry, and that I could probably do other things. Otherwise, I don't know that I would've been given the opportunity to do Paris, Je T'Aime.

I think if anybody had a roll of dice with a lot of money at stake, they would not want Wes Craven and a romantic comedy.

It's quite rare that you make something and think that you did something that no-one else had done.

I don't want to rescind American directors but I think that European directors in general, because of the size of the nations in Europe are exposed to all different cultures, they can easily travel from one distinct culture to another in a matter of hours - you can drive for two weeks across the United States and you're in the same basic culture - so there is a certain breadth of understanding and sophistication that they bring to it and frankly, in some cases they are less expensive than American directors.

If you're in a theater, people are texting, all around you. You have the little glowing screens everywhere. Think of how annoying that can be.

You can look at what's happened to America in the last years and say a lot of people were asleep. A lot of people were not staying awake and watching what was going on and facing the pain of that and dealing with it.I don't care if the rest of the audience doesn't think along those lines at all, because the audience is a huge spectrum of people, from people who are introspective to people who just want to be scared and have fun, and all the points in between.

Last House offended a lot of people. The results in the theaters, even in Boston, reminded me a bit of things from when I was studying theater of the absurd, and the rise and the appearance of Ionesco plays, and things like that. Thinking, "My God, people actually are getting into fistfights. People are having heart attacks. People are actually trying to get into the projection booth to destroy the print."

I wrote, I think, half a dozen films that were completely out of genre. Comedies, love stories, even one serious film about Vietnam, and we couldn't get backing for any of it. And we both sort of drifted from making, at that time, serious money on Last House to going through it all in the course of almost three years and only getting offers to do something scary again.

I've done a few interviews where I realized that 9/11 was the ultimate home invasion, not to be glib about it. You know, where the place that you think is safe and the people that you think are safe and far from evil are suddenly just slaughtered by it, and you have no control over it.

There's more emphasis on art and culture in Europe than there is in the United States and I think that a lot of American directors and writers are just trying to copy other American horror films, they don't pick up much in the way that European filmmakers do.