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.
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.
Being a cult figure in one's own lifetime I am afraid is not at all pleasant. However I do not find that it tends to puff one up: in my case at any rate it makes me feel extremely small and inadequate. But even the nose of a very modest idol cannot remain entirely untickled by the sweet smell of incense.
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 think there's a preoccupation with the American market to make excuses and justify its past. If it isn't current, it means somebody has to make an excuse for it. If it's 'cult,' it gives it a sense of illegitimate legitimacy.
'Street Legal' is like a cult classic. It's pretty cheesy at times, but you learn to embrace it.
When artists die early, they become idols even more.
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.
When they made 'Rocky Horror' in the '70s, they had no idea it would become this 41-year phenomenon that it has become.
I like being infamous. I think it is safe being a cult.
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.
'Hook' became a cult classic without all the lore.
'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.
'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.
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.
'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.
'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
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.
Someone like Vincent Price or somebody like Christopher Lee, they never won an award, and it doesn't matter. They're cool.
If you're not interested in history, if you're living for the day, you need some sort of cliche hook. I certainly don't think of myself as a cult anything. It's a strange thing to even consider pursuing.
I was definitely surprised when Talk Radio took off as a play. As a film it has become somewhere between a popular thing and a cult thing.
