Rob Zombie Quotes

I think that where I've watched a movie go wrong, it's usually because the dread committee has been interfering with it.

What I can't figure out is why we're not making more R-rated movies, actually.

I will not cut my film because, because, because, because of the Wonderful Wizard of Oz.

Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.

I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.

They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.

It was like fighting with the MPAA... to me it was like this is an R easy... but it was NC 17 over and over and even with this cut they were like, you are right on the edge buddy, one more thing and it's NC-17.

I've been involved with violent movies, and then I've also said at a certain point, 'I can't take it anymore. Please cut it.' You know, you've got to respect the filmmaker, and it's a really tough issue.

In a feature film, the question of censorship always comes up.

Censorship should never go. But we can always give a little more space to the director.

All my films were based on sensitive issues, and they were passed without any problems. I give full credit to the Censor Board for being capable enough to do their work well.

I think I may have been the only person to be rewarded charitably and get a tax deduction for swearing on film!

The problem with most Hollywood movies is they don't give the director enough control.

I began to think, now is the time. I found quite a lot of opposition in Hollywood about the idea of doing a film musical and we ended up having to buy the rights back. I'm glad we did because it meant John and I were able to make exactly the movie we wanted.

We don't have any rules about how we depict violence, or how much violence is in a movie. It's a calibration on a case-by-case basis.

In movies you can shoot a guy 3,000 times and get a 'PG-13', but if you say the 'F' word twice it's automatically an 'R'. I'll let that be its own comment.

I don’t think that they would have allowed me to make The Best Years of Our Lives just a few years after I made it [in 1946].

A film has to maintain a certain decorum in order to be broadcast to a vast audience.

I want to act for the rest of my life - and I also want to pursue directing. Watching Bill Condon direct 'Twilight' kind of made me think, 'OK yeah, I really want to do this now.' This idea that you can make an image in your head and be in full control of how it comes out - I thought that was really cool.

I've made six films for Disney, and they have a clause in their contracts called the morality clause that I've always refused to sign.

I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.

We have this sort of tacit censorship, which is the ratings system, and it's directly tied to box office, so it is censorship. Like, if you make an R-rated movie, you know that only a certain amount of people are going to go see it under any circumstance.

It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.

The truth is, we were sick of, every time we finished a movie, having to start all over again from nothing, going to a studio, pitching an idea, setting up a new office.

On Broadway, there is no censoring, just self-censorship and doing what makes sense.