A cult classic is one that has been fully embraced by an alternative audience, not the popular audience.
I saw 'The Godfather' in London when it came out in 1972 and loved it. I've seen it probably 20 times - I always find something new.
I set out to do a horror film with 'Dog Soldiers,' and what I came out with at the end of the day was something that was more of a cult movie, more of a black comedy with some horror elements in it. It kind of went over the top.
There was such mass appeal for 'Sharknado.' It went over so well - not just here in the United States but globally - that it would be such a missed opportunity and a ripoff for the fans not to bring 'Sharknado' back.
I've just come to try to see the positive in everything. Despite people saying 'The Room' is the worst movie or whatever, it's brought about a lot of great things.
Usually, the worst films become cult films.
I did a film called 'Black Dynamite' that was very, very funny. That seems to be a film that's kind of a cult classic.
I am loath to suggest 'Visitor Q' to anyone, because you've got to have a warped brain to even understand or appreciate it a little bit. Fortunately, or unfortunately, I have been blessed with a warped brain, and I really dug it.
For whatever reason, every project I do becomes sort of a cult, or a cultish show, you know, like 'Battlestar,' or even a film I did years ago, 'Kalifornia,' people refer to it as a cult film.
'Hook' became a cult classic without all the lore.
'Bubba Ho-Tep' was an accidental story that turned out to be my first film adaptation, and it's still going strong in story and film.
'Wet Hot American Summer' was sort of lowbrow genius, you know? But smart in its cultish silliness. It wasn't considered something of great cultural caliber. But like many cult pieces, it sort of became something culturally relevant, which I think is what's so wonderful about it.
'Company' has become a cult film. When people see me at the airport, and when I travel, they call me 'Companywala.'
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
'Omega Man' is a little too tied to a specific generation and a little cult-y to me.
After 'The Room' premiered in 2003 - which went exactly as it does in 'The Disaster Artist' - I didn't think it was going to go anywhere. It wasn't a film I wanted to share with people.
Long Kiss Goodnight has a huge cult following. They could make another version of that movie right now and make a lot of money.
I did sing in another film called 'Empire Records' which is a cult film. 'Grease 2' is also a cult film. You either love it or just think the original was better.
Along with 'Wet Hot American Summer' and 'The Room,' 'Lebowski' belongs in the canon of nouveau cult classics.
'Can't Stop the Music' has become a cult film. It's kind of shocking to me. People come up to me all the time and say, 'I just saw it!'
'Swept Away' is one of my favorite films of my father. I've seen it about 20 times. It's a cult movie in Italy.
I was always obsessed with the 'Adventures of Buckaroo Banzai,' this weird little cult movie. There was this promised sequel before the end credits - 'Buckaroo Banzai Against the World Crime League' - and I knew instinctively they were never going to make that movie, because the first one had made, like, $8 at the box office.
I've made movies that nobody saw initially, and then, all the sudden, people over the years pick up on it. Like 'Spinal Tap' and 'Princess Bride.'
As a director, it's my job to provoke, and when people decided 'The Room' be called a phenomenon, or whatever you call it, it's fine with me.
A cult following is a nice way of saying very few people like you.
