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"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."
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"Of course we're friends ... we are both civilized men, aren't we? We've shared bed and board and bottle. We'll always be friends, and the dog collar I have on you will always be ignored by mutual consent, and I'll take good and benevolent care of you. All I ask in return is your soul. Small item. We can even ignore the fact that you've handed it over, the way we ignore the dog collar."
"May it not be that he loves chaos and destruction (there can be no disputing that he does sometimes love it) because he is instinctively afraid of attaining his object and completing the edifice he is constructing? Who knows, perhaps he only loves that edifice from a distance, and is by no means in love with it at close quarters; perhaps he only loves building it and does not want to live in it, but will leave it, when completed..."
"I never feel unsafe except for when the majority is on my side."
Explore more quotes by Terence Fisher
"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 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."
"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 '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."
"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."
"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."
"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."
"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."
"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."
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