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Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see
Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see
Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see
Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see
Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see
Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see
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Debbie Allen:
I got my dailies every day, although I couldn't always look at them because I was usually preparingDebbie Allen:
It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.Debbie Allen:
That's the only way I can control my movie. If you shoot everything, then everything is liable to eDebbie Allen:
In scoring we have a lot that was not evident in the shooting. The radio is on all the time.Debbie Allen:
The radio for these women is like television is for us today, which is really like looking at the rJohn Carpenter:
It's a very good time for horror. This business certainly has changed, but there's still room for sJohn Carpenter:
I made a decision back in 1978 that, in a trade off for money when I directed Halloween, I would haJohn Carpenter:
To make Michael Myers frightening, I had him walk like a man, not a monster.John Carpenter:
In Halloween, I viewed the characters as simply normal teenagers. Laurie, Jamie Lee's character, waJohn Carpenter:
What scares me is what scares you. We're all afraid of the same things. That's why horror is such a