To be involved with movies that become kind of cult classics... I've been very fortunate. 'The Warriors' is certainly a cult classic, and 'Xanadu' is, to a certain degree, a cult classic as well.
I'm still asked a great deal about 'The Wicker Man' because it's become one of the great cult movies of all time. That's the story of my career, really, making cult movies. And I've always said it's the best film I've ever made.
A cult classic is one that has been fully embraced by an alternative audience, not the popular audience.
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.
It was a special show that became a cult classic of sorts, and I made a lot of money for it.
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.
'Lost' is an entity of its own. It's still such a culture touchstone that I think it'll be something people go back to for a long time, like 'Star Trek.' I'm just so amazed by the show's popularity.
'Street Legal' is like a cult classic. It's pretty cheesy at times, but you learn to embrace it.
When they made 'Rocky Horror' in the '70s, they had no idea it would become this 41-year phenomenon that it has become.
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.
Cult movies are basically movies Hollywood missed the first time - that they should have gotten - and then the fans got it and made it successful.
In a strange kind of way I know were really popular and probably the biggest band in the country at the moment, but at the same time there is this real cult thing going on.
'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.
'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.
'Psych' is a cult show, and anytime a show takes on a cult status, it means that the fans are a huge part of 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
I remember starting 'Game of Thrones,' everyone said 'you have to watch it,' but I thought 'it's science fiction, it's not real, it's nothing.' I gave it a go and then couldn't stop watching it.
The Boosh was cult, but then it crossed over a bit, which we needed it to, because we were working on it full time, and it needed to go mainstream so we could keep making material.
The original 'Star Trek' series is the classic one. Its successor, 'The Next Generation,' is less lovable, but at its best, it's smarter.
I learn new things about what 'The Room' does wrong or oddly every time I see it with a crowd.
'Heroes' was a huge show with 12 cast members and giant special effects.
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.
