20 Terrific John Carpenter Quotes About Horror Movies

Amy Sussman/Getty Images for Tribeca Film Festival
Amy Sussman/Getty Images for Tribeca Film Festival

Though he’s made a variety of movies—from fantasy to science fiction films—John Carpenter will forever be known as a master of horror, thanks in large part to the role he played in reinventing the genre with 1978’s Halloween. To celebrate the award-winning filmmaker’s 71th birthday, we’ve gathered up 20 of his most memorable quotes about Hollywood.

1. On the definition of horror

“Horror is a reaction; it's not a genre.”

—From a 2015 interview with Interview Magazine

2. On the rules of moviemaking

“I think the rules of filmmaking are essentially the same as they were since, I guess, The Birth Of A Nation. The way you make movies: long shot, close-up, camera movement, structure—it’s all the same. Not much has changed. But the technology of movies has vastly changed. From 35mm black-and-white to color, from nitrate film to safety film and now into digital—and yet we’re still breaking scenes into master shots and close-ups. The cinema narrative has not changed that much since the silent film.”

—From a 2015 interview with The A.V. Club

3. On the two types of horror stories

“There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don’t understand. Internal is the human heart.”

—From a 2011 interview with Vulture

4. On the importance of Night of the Living Dead

“One movie that showed me it was possible to make a low-budget horror movie was Night of the Living Dead (1968). When I saw that, I was like, 'Wow, that's really effective, but it's obviously low budget.' They didn't have any money but they actually made something cool. That was inspirational to me when I was in film school.”

—From a 2015 interview with Interview Magazine

5. On the truth about Hollywood

“Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamor associated with them. But the truth is, it's not like that. It's very different. It's hard work. If you were suddenly catapulted into that situation—without any training—you would say after it was over: 'Oh, God! You're kidding! You mean, this is what it's like? This is what they put you through?' Yes, as a matter of fact, it is like this—and it's often worse. People have tried to describe the film business, but it's impossible to describe because it's so crazy. You must know your craft inside out and then pick up the rules as you go along.”

—From an essay for Santa Fe Studios

6. On the horror of watching his own movies

“I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.”

—From a 2012 interview with Entertainment Weekly

7. On the emotional toll making movies can take on a director

“I’ve been feeling old for years and years, and I think the movie business did it to me. At one point I just did movie after movie, and it starts tearing you down physically—emotionally too, if you do one after another. The stress, the emotional exertion of dealing with others. I’ve worked with really great actors and really difficult actors. The difficult ones are no fun. And the style of the movies today have changed a great deal. To me, I’m not a big fan of handheld. That’s just my tastes. That’s a quick fix for low budget. Let the operator direct it! Walk around. That’s how you burn through the pages. And found footage—how many times do we need to do that?”

—From a 2014 interview with Deadline

8. On what makes a good horror movie

“There’s a very specific secret: It should be scary.”

—From a 2015 interview with The A.V. Club

9. On the perception of a filmmaker

“In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the U.S., I'm a bum.”

—From The Films of John Carpenter

10. On standing out

“I don't want to be in the mainstream. I don't want to be a part of the demographics. I want to be an individual. I wear each of my films as a badge of pride. That's why I cherish all my bad reviews. If the critics start liking my movies, then I'm in deep trouble.”

—From an essay for Santa Fe Studios

11. On maintaining control

“My years in the business have taught me not to worry about what you can’t control.”

—From a 2007 interview with MovieMaker Magazine

12. On his favorite movies

“I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.”

—From a 2011 interview with Rotten Tomatoes

13. On being stuck in the 1980s

“Well, They Live was a primal scream against Reaganism of the '80s. And the '80s never went away. They're still with us. That's what makes They Live look so fresh—it's a document of greed and insanity. It's about life in the United States then and now. If anything, things have gotten worse.”

—From a 2012 interview with Entertainment Weekly

14. On the importance of instinct

“I think every director depends primarily on his instincts. That’s what’s got him where he is, what’s going to carry him through the good times and the bad. I generally go with what I instinctually think I can do well.”

—From a 2011 interview with Vulture

15. On being typecast as a director

“I haven't just made horror. I've made all sorts of movies. There have been fantasy movies, thrillers, horrors, science fiction. In terms of the ultimate reward, listen, man, when I was a kid, when I was 8 years old, I wanted to be a movie director, and I got to be a movie director. I lived my f*cking dream, you can't get better than that. That's the ultimate.”

—From a 2015 interview with Interview Magazine

16. On the reality of monsters

“Monsters in movies are us, always us, one way or the other. They’re us with hats on. The zombies in George Romero’s movies are us. They’re hungry. Monsters are us, the dangerous parts of us. The part that wants to destroy; the part of us with the reptile brain. The part of us that’s vicious and cruel. We express these in our stories as these monsters out there.”

—From a 2011 interview with the Buenos Aires Herald

17. On movies as a sensory experience

“A movie’s not just the pictures. It’s the story and it’s the perspective and it’s the tempo and it’s the silence and it’s the music—it’s all the stuff that’s going on. All the sensory stuff. Sometimes you can get a lot of suspense going in a non-horror film. It all depends. But, look, if there was one secret way of doing a horror movie then everybody would be doing it.”

—From a 2015 interview with The A.V. Club

18. On the universal language of horror

"Horror is a universal language; we're all afraid. We're born afraid, we're all afraid of things: death, disfigurement, loss of a loved one. Everything that I'm afraid of, you're afraid of and vice versa. So everybody feels fear and suspense. We were little kids once and so it's taking that basic human condition and emotion and just f*cking with it and playing with it. You can invent new horrors."

—From a 2015 interview with Interview Magazine

19. On the remake trend

“It’s a brand new world out there in terms of trying to get advertising. There’s so much going on that if you come up with a movie that people have never heard of they don’t pay attention to it—no matter how good it is. So it becomes, 'Let’s remake something that maybe rings a bell and that you’ve heard of before.' That way, you’re already ahead. I’m flattered, but I understand what’s going on. They’re picking everything to remake. I think they’ve just run down the list of other titles and have finally got to mine.”

—From a 2007 interview with MovieMaker Magazine

20. On the lasting influence of Halloween

“I didn’t think there was any more story [to Halloween], and I didn’t want to do it again. All of my ideas were for the first Halloween—there shouldn’t have been any more! I’m flattered by the fact that people want to remake them, but they remake everything these days, so it doesn’t make me that special. But Michael Myers was an absence of character. And yet all the sequels are trying to explain that. That’s silliness—it just misses the whole point of the first movie, to me. He’s part person, part supernatural force. The sequels rooted around in motivation. I thought that was a mistake. However, I couldn’t stop them from making sequels. So my agents said, ‘Why don’t you become an executive producer and you can share the revenue?’ But I had to write the second movie, and every night I sat there and wrote with a six-pack of beer trying to get through this thing. And I didn’t do a very good job, but that was it. I couldn’t do any more."

—From a 2014 interview with Deadline

Pod Search, a Search Engine for Podcasts, Can Help You Find Your Next Binge-Listen

Milkos/iStock via Getty Images
Milkos/iStock via Getty Images

Having too many options definitely seems like the best problem to have when it comes to picking your next top podcast obsession, but that doesn’t make it any less overwhelming. To streamline the hunt, try Pod Search—a website and mobile app that has all the information you need in order to choose a winner.

As Lifehacker reports, the user-friendly site is organized in several different ways, depending on how you’d like to operate your search. You can browse its list of about 30 categories, which range from “Storytelling” to “Crime & Law,” and each has a set of subcategories so you can get even more specific. If you trust the opinions of the general public, you can choose an already-popular podcast from the “Top Podcasts” tab. Or, if you like to be the first to recommend the next big thing to your friends, you can pick a program from the list of new podcasts.

Pod Search also has a handy tool called MyPodSearch which will pretty much do all the work of choosing the perfect podcast for you. All you have to do is check whichever categories interest you and add any additional keywords you’d like (which is optional), and MyPodSearch will deliver a list of podcasts personalized for your tastes. This is great for people who have wide-ranging interests, a proclivity for indecision, or both.

Each podcast has its own landing page with a description, audio samples, places you can listen, website and social media links for the podcast, and a list of other podcasts from the same producers. You can also create an account and bookmark podcasts for the future—so, hypothetically, you could have MyPodSearch create a personalized list for you, bookmark them all, and then have a binge-listening itinerary that’ll last you until next year.

[h/t Lifehacker]

8 Fun Facts About Muppet Babies

The Jim Henson Company
The Jim Henson Company

Before prequels were a thing, Jim Henson’s Muppet Babies imagined a world in which the felt-covered characters of Henson’s Muppets franchise—Kermit, Miss Piggy, Animal, and Fozzie Bear among them—met up as children in a nursery. Left to their own devices, the animated cast led a rich fantasy life while in diapers. For more on this 1984-1991 show, including why it’s so hard to find anywhere except YouTube, keep reading.

1. Frank Oz didn’t really want Muppet Babies.

The idea to infantilize the Muppets came from Michael Frith, a longtime collaborator of Jim Henson’s, in the early 1980s. Frith believed that regressing the characters could allow them to impart moral or educational messages to children already familiar with them. But Frank Oz, a Muppets performer (Miss Piggy) and film director, argued that the Muppets needed to maintain their subversive edge. It was Henson who found a compromise, suggesting that younger versions of the characters appear in a dream sequence for 1984’s feature film The Muppets Take Manhattan. The response to the scene was overwhelmingly positive, and Henson soon teamed with Marvel Productions and CBS for an animated series that began airing in September 1984.

2. Skeeter was the result of a gender imbalance on Muppet Babies.

Most of the principal Muppet Babies cast was made up of recognizable characters, including Kermit, Miss Piggy, Fozzie Bear, Rowlf, Gonzo, Animal, Bunsen, and Scooter. But Frith, Henson, and producers Bob Richardson and Hank Saroyan decided that the babies were skewing a little too male. Aside from Piggy and their caretaker, Nanny, there were no female characters. To balance the scales, they introduced Skeeter, Scooter’s twin sister, a brainy problem-solver.

Skeeter has made only fleeting and sporadic appearances in the Muppet franchise since, leading to speculation she might be caught up in rights issues between CBS and the Jim Henson Company, which was purchased by Disney in 2004. Fortunately, the somewhat murky situation appears to be at least partially resolved: It was recently reported Skeeter will resurface in the new computer-animated iteration of Muppet Babies, which is currently airing its second season on Disney Junior and has been renewed for a third season.

3. One of the major creative forces behind Muppet Babies was Moe Howard’s grandson.

In 1985, Muppet Babies writer Jeffrey Scott received a Humanitas Prize from the Human Family Educational and Cultural Institute for an episode of the series which the Institute declared did the best job of any kid’s show that year to “enrich the viewing public.” The episode centered on the group fearing one of them might be sent away. The prolific Scott actually wrote all 13 episodes of the first season. His father, Norman Maurer, worked at Hanna-Barbera Productions and got Scott’s foot in the door. His grandfather was Moe Howard, founder and head Stooge of The Three Stooges fame.

4. The Muppet Babies live-action segments were a result of budgetary constraints.

A hallmark of Muppet Babies is when the cast finds themselves thrust into scenes from famous films, a Walter Mitty-esque bit of fantasy fulfillment that blends live-action sequences with animation. According to Frith, devoting a portion of each episode to clips wasn’t entirely a creative choice. By inserting clips, producers could save money on animation. It was also easy for Henson to secure the rights to popular films like Star Wars or Raiders of the Lost Ark because he was friends with George Lucas and Steven Spielberg. While some believe those clips are the reason the show isn’t available to stream—sifting through the legal entanglement of reairing the segments might prove costly—that’s never been confirmed.

5. Muppet Babies never explained what the Muppets were doing in that nursery.

Given time to reflect, it seems odd that the Muppet cast would find themselves in a nursery without being supervised by their own parents. Speaking with the Detroit Free Press in 1987, Michael Frith said that the situation was purposely left vague. “I really appreciate the fact that they don’t [ask],” Frith said of his kid viewers. “Is this a day care center? Is this a foster child home? The more we talked about it, the more we felt it should just exist. The kids accept it.”

6. The voice recording sessions of Muppet Babies included copious farting.

Speaking with CNN in 2011, actor Dave Coulier (Full House) recalled that recording sessions for Muppet Babies sometimes involved flatulence. Coulier, who portrayed Animal and Bunsen, among others, said that “lots of fart humor” punctuated the recording studio. “In one scene, Fozzie [played by Greg Berg] and Animal had to climb a ladder,” he said. “As Animal was pushing Fozzie up the ladder, they were making [grunting] sounds. In mid-scene, Greg Berg farted. I looked at [actor] Frank Welker and we couldn’t contain ourselves. Uncontrollable laughter ensued. I was literally on the floor of the studio laughing.”

7. There was an offshoot of Muppet Babies called Muppet Monsters—and it never aired in full.

Following the success of Muppet Babies, CBS and Jim Henson decided to expand on the Muppets' potential as Saturday morning stars by creating a 90-minute block in 1985 titled Muppets, Babies, and Monsters. (Muppet Babies often aired consecutive half-hour installments for an hour total.) In addition to regular Muppet Babies episodes, the program featured another half-hour of Little Muppet Monsters, which featured puppets of new Muppet monster characters named Tug, Molly, and Boo. The three appeared in a framing device that introduced animated segments of adult Muppets. Only three episodes aired out of 15 produced, reportedly due to both Henson and CBS being unhappy with the finished product and Muppet Babies standing strongly on its own. The remaining episodes have yet to see the light of day.

8. Muppet Babies was turned into a live stage show.

To further incite their juvenile audience and monetize their popularity, the Muppet Babies franchise eventually wound up live and on stage. Muppet Babies Live! debuted in 1986 and featured performers in oversized costumes dancing and acting to a prerecorded track. In one skit, the cast appeared in a Snow White homage. In another, Rowlf became Rowlfgang Amagodus Mozart and played the piano. The arena show toured the country. Hank Saroyan, one of the animated show’s producers, wrote the stage show. The performer for Baby Piggy, Elizabeth Figols, also appeared in a live production of Dirty Dancing. The show ran through 1990.

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