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Terence Fisher

"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."

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"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."

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Amber Hurdle

"Television is now the dominant factor in the lives of too many American children."

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Amber Hurdle

"As far as the media is concerned, I wouldn't shoot anything down."

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Amber Hurdle

"No, United Artists was a very extraordinary organization, because once they had agreed on the director, they believed in letting him have his way. They trusted me, and that doesn't often happen."

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Amber Hurdle

"I look for those moments that are "gee whiz" moments. There's some "gee whiz" stories in our show, and they can't be written like A-1 in the Times. They have to be written more like Page 6 in the Post."

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Amber Hurdle

"The press these days should be rather careful about its role. We may have acquired some tendencies about over-involvement that we had better overcome."

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Amber Hurdle

"I'm not one of those leeching sons of bitches. I want to earn everything I get."

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Amber Hurdle

"Well, American dialects have been studied for a hundred years or so."

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Amber Hurdle

"Tell us exactly - certainly our listeners - why does it appear that some folks, certainly in the Democratic Party and in the news media - seem to be afraid of you?"

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Amber Hurdle

"TV happens. And once it's happened, it's gone. When it's gone, you move on, no tears, no tantrums, no videotape."

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Amber Hurdle

"The agenda of the Media is not to inform you, they don't care about you, they are trying to show you the truth. There are some intelligent Christians but they can't find them and put on the air ...for instance me."

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Terence Fisher
"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."
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Terence Fisher
"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."
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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.'"
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Terence Fisher
"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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Terence Fisher
"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."
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Terence Fisher
"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."
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Terence Fisher
"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."
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Terence Fisher
"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."
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Terence Fisher
"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."
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