Quote

Horror is like a serpent always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious.

Dario Argento

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Dario Argento
Age: 84
Born: 1940
Born: September 7
Composer
Director
Film Director
Film Producer
Screenwriter
The Eternal City
Sirio Bernadotte
Come
Guilty
Trying
Skins
Always
Changing
Shedding
Like
Horror
Serpent
Secret
Subconscious
Away
Secrets
Keep
Hidden
Back
Skin

More quotes by Dario Argento

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I've been lucky enough to have had the luxury of being able to make the picture I've wanted to make each time on my own terms and without compromise.
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When I see a film I've finished, it's like another person made it. Like another mind.
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Maybe when I stop making movies, I'll understand my work better.
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I want to do what I want when I want to do it not be dictated to by audiences.
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I wanted something new, the supernatural. The witch, the sorcerer, I love this. I love the films of the witch and sorcerers and magic, its wonderful!
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I went through a phase where I thought nostalgia was a bad thing.
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Films are dreams. Many, many critics say to me that my films are not good because they are too unbelievable, but this is my style. I tell stories like they are dreams. This is my imagination. For me, it would be impossible to do a film that is so precise, that resembles real life.
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Theres nothing gratuitous about my films.
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If you don't like my movies, don't watch them.
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Paradise is too perfect for humanity.
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In each of my characters there is a little of me. Not strictly autobiographical but a little piece of my soul.
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I'm Dario Argento, and my style is something recognizable I think by the audience.
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You must push everything to the absolute limit or else life will be boring.
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Without psychology, the horror film doesn't exist.
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Each film I make changes me in some way. When I start the picture I'm one person and by the time I finish I'm another.
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The process of writing and directing drives you to such extremes that it's natural to feel an affinity with insanity. I approach that madness as something dangerous, and I'm afraid, but also I want to go to it, to see what's there, to embrace it. I don't know why, but I'm drawn.
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The Opera was a very cold film, a hopeless and dark film, no hope, no love.
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In Italy the censor is very old and there are many judges and psychiatrists who analyse you.
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Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.
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Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
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