What some of the early horror genre masters knew, and what I know, is that the audience are perverts, but in the best possible way.
In my everyday life, I can be as square as I want. But when it comes to movies and telling stories, I can't. I've got to be radical, and on some level, that's what I like to do.
I like to get the audiences cozy in their seats, feeling safe, and suddenly they'll be shocked out of their minds.
I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.
I take things from everywhere, and I still haven't figured out where I took [some things] from.
I've seen a lot of movies that were great and scary, but not particularly fancy in their filmmaking or performance. And they're still scary, and I think a good horror movie should be scary above all things.
Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.
I think the more honest you are with the storytelling, the better it works.
You don't see a wonderful shot in a comedy. Why? Because they don't want to distract you from what matters, which is the joke. It has to be funny, so usually all the things in the background don't matter.
I don't want to spoon-feed the audience, like, "This is the funny guy, this is one you hate, this is the one you like." A lot of movies do that. They don't really give you a choice. They show you the jock, and he's an idiot, and everybody has to hate him. You have no choice.
I think violence in movies, for it to work, you have to use it smartly. People get numb very fast. If you have too much violence in the beginning, it gets to a point where you don't feel it.
I really don't like to go for the stereotypes. I try to give you characters that you don't know until you get to know them, and [decide] how you should feel about them.
I try not to be spectacular with the camera. I try to be a witness of what's going on.
It's a convention, but in horror movies the female characters usually tend to believe easier in a supernatural event.
I think a good actor will always know the character better than anybody.
There's always a tone that you have to hit right in horror. With the blood, you want to make sure that it makes sense all along.
Honestly, when you're writing you try to stay on the story, on the character's mind, trying to throw stuff at them. There is danger, and the scares have to kick in the right places with the drama. And you try not to do too much to try to create those moments. Those moments create themselves.
Not all horror fans love Evil Dead because of the humor, at least not me.
Most filmmakers go out with the first feature and nobody cares.
You can make a film with a phone and a computer if you want, if you have the time. So it's a world that is saturated with films and all kind of stuff, so it's such a blessing to be able to make a film and people care, and even if they say that it's a bad idea, at least they care and they're talking about it.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
Definitely my favorite cut is the one that got put out. That's my favorite version of the film, the one that I put in theaters. That's my directors cut, there's no question about it.
Maybe because I'm a child of the 80's, but for me a sequel is a story that follows the previous one, and sometimes if you haven't seen the original then you don't understand the second one.
That's kind of my ideal sequel - a movie that continues the story, takes one character and moves on, and moves forward with that character that survived with the first one.
In general I think the inspiration was to think about all those movies that I saw as a kid and never knew they were remakes, because I know there's probably another kid going to watch Evil Dead who has no idea.
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