Eli Roth Quotes

You must always watch when David Lynch makes anything.

I don't think 'Road' is an experimental film.

All of the art that I love is about peeling back layers and delving into something that's in a subconscious or dream realm. People like Jan Svankmajer, or the artist Yoshimoto Nara, or David Lynch.

I admire David Lynch so much, and I think he made some bad decisions with Lost Highway.

There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.

A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.

You kind of know what kind of reaction a Yorgos Lanthimos movie is going to get.

I really liked the Jean-Luc Godard movie, 'Film Socialisme.'

David Lynch is démodé now, if you look at his films. I looked at them the other weekend.

Eraserhead is my most spiritual movie. No one understands when I say that, but it is.

('Eraserhead') may seem like a dark film, but my father and I watch it, and all we do is laugh. It was Disneyland everyday on the set. That's when I fell in love with film.

My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet was a masterpiece.

The Pirate is surrealism and so, in a curious way, is Father of the Bride.

Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.

I think today there are too many directors taking themselves seriously; the only one capable of saying anything really new and interesting is Luis Bunuel. He's a very great director.

When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?

A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.

'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.

I like David Lynch; I like Stanley Kubrick. I'm a big fan of Kubrick.

When he came to television, there was no way I wasn't going to watch. Of course, he delivered everything that you would expect David Lynch to deliver, and more, and he was doing it in primetime network television. Even as a 14-year old, I wanted someone in the room with me that I could look over and say, 'Can you believe we're watching this?'

I think that David Lynch, he lives in a zone, and he expresses that zone to us with everything he does.

I'm a big David Lynch fan.

As good as 'Twin Peaks' was, and I mean, it's a superb work that's way ahead of its time, and we've never caught up, and we never will... I mean, we will never catch up to 'Twin Peaks.'

I really loved Twin Peaks. When I saw the two-hour pilot, they screened it in the big theatre. I said, I don't know what is going to happen. I'm in this and I don't understand it. This is never going to sell. Who's going to watch this thing?

I'm one of the few people who really like Eyes Wide Shut.