Eli Roth Quotes

I remember watching movies like 'Fatal Attraction' and watching the audience go bananas at the end of the film.

You may be sure that if you succeed in bringing your audience into the presence of something that affects them, they will not care by what road you brought them there; and they will never reproach you for having excited their emotions in spite of dramatic rules.

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

As long as I can make an audience feel something, I don't care whether it's a good thing or bad thing, just to feel something is important to me.

The audience likes their emotions to be touched. They want to laugh and cry and feel good.

I want to be engaged and moved by theatre, there's nothing more disappointing than being left cold. After 'The Author,' I felt wrung out emotionally, like a used tissue.

I prefer to make a film that people have a really intense reaction to than have a film that people feel ambivalent about.

I find that after a screening, people really want to come and tell you what they feel.

For me, there is nothing more valuable than how people feel in a movie theater about a movie.

Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.

The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.

I wouldn't say that I'm actually trying to cause chills in the audience, but certainly my goal is to, at the very least, effect a physiological response - at the most, to effect some sort of state change, ideally, in the audience.

I never leave a piece of theater that I love and say, 'That was a good point; They made a good point.' I leave, and I feel something.

People have cried at a couple of shows. To think that someone could do that for me... Jesus Christ. That's a crazy sign.

In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.

Every movement of the theater by a skilful poet is communicated, as it were, by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions which actuate the several personages of the drama.

You have a responsibility for the way you make the audience feel, and I want them to feel uncomfortable.

In my entire career, I've never cried, consistently, through a movie, ever.

I still want to get some empathy from the audience, even though she's pathetic.

We're paid to care. That's what actors get their money for. But the main goal is not for the actors to be frustrated at the end of the show, but for the audience to be throwing their shoes at the television set. That's what we're trying for.

I don't want people leaving the theater depressed after my movies. I want them angry.

If you put anger in the writing, then it's like an actor crying on stage. The audience will not cry with the actor and in some way inure itself against the emotion.

The fact that audiences have come away moved, excited, entertained and stimulated by the film is extraordinarily flattering.

The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.

It's strange: We leave the movie having enjoyed its conclusion so much that we almost forgot our earlier reservations. But they were there, and they were real.