Trivia and Quotes
Quotes
 I`ve been lucky enough to have had the luxury of being able to make the picture I`ve wanted to make each time on my own terms and without compromise. The Opera was a very cold film, a hopeless and dark film, no hope, no love.
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I`ve never gone into analysis. But Freud opened a door, I know.
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I went through a phase where I thought nostalgia was a bad thing.
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It`s incredible that they censor films. It`s sad.
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I wanted to get back to my style of 20 years ago after a long period of exploring horror and fantasy themes.
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Each film I make changes me in some way. When I start the picture I`m one person and by the time I finish I`m another.
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When I was a teenager, I read a lot of Poe.
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Young girls of 13 or 12 are great actors.
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In each of my characters there is a little of me. Not strictly autobiographical but a little piece of my soul.
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I`m very interested in portraying homosexual man and woman in my films because I`m interested in their lives and their problems.
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There`s nothing gratuitous about my films.
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I wanted to develop the idea of the Three Mothers, the origin of all sorrow and pain. Suspiria (1977) is about The Mother of Sighs; and Inferno (1980) is about the Mother of Darkness.
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I like films to have something inside, I don`t mean a message, I mean something from the soul.
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Every writer, to some extent, writes about himself.
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I love Russian cinema. Dziga Vertov is my favorite. [Andrei Tarkovsky] so-so. I prefer the fantasy of [Sergei M. Eisenstein]`s Oktyabr (1928).
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It irritated me that my fans kept wanting me to retread old ground.
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Is it right to be obsessed with looking at terrible things and sharing them with other people?
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I like women, especially beautiful ones. If they have a good face and figure, I would much prefer to watch them being murdered than an ugly girl or man. I certainly don`t have to justify myself to anyone about this. I don`t care what anyone thinks or reads into it. I have often had journalists walk out of interviews when I say what I feel about this subject.
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The sound, it looks wonderful
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But now we have bought the film back and it will be shown in Paris in the original version for the first time in the next couple of months.
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Goblin was a new band and this was their first major work. The oldest of them was only 18. They were very talented and I wanted to give them a break.
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My life and career is my own adventure.
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The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It`s a horrible experience.
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I also don`t like films that are made just to make money, no this kind of film I don`t like.
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Maybe when I stop making movies, I`ll understand my work better.
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In Italy the censor is very old and there are many judges and psychiatrists who analyse you.
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Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
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If you don`t like my movies, don`t watch them.
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We had many good directors - John Carpenter, Brian De Palma - but things have become polluted by business, money and bad relationships. The success of the horror genre has led to its downfall.
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Horror is the future. And you cannot be afraid. You must push everything to the absolute limit or else life will be boring. People will be boring. Horror is like a serpent; always shedding its skin, always changing. And it will always come back. It can`t be hidden away like the guilty secrets we try to keep in our subconscious.
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When I see a film I`ve finished, it`s like another person made it. Like another mind.
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The opera we used in the film [Opera (1987)] was "Macbeth", which has a tradition - also in the theatre - of being bad luck. People all warned against using it, suggested using "La Traviata" or "La Bohème", and I said, "This is just a story, don`t be foolish," but maybe they were right. With ["Opera"] I had a lot of English crew - that was something new for me - and I learned many things from them. Overall, though, it was a terrible experience. You know, many cuts were made after I was finished, even though I protested. Many things happened. Vanessa Redgrave was scheduled to be in the film, and she pulled out. One of the actors was crushed by a car. I was engaged to be married, but by the end of the picture that was finished. My father died during the shooting . . . all kinds of things. But I felt I had started with "Macbeth", so I had to finish. And anyway, there could be no ravens in Cosi Fan Tutte.
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When I was five. That`s when I started to love film.
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This is in contrast with some of my other movies where I used Ennio Morricone for his ability to create an epic feel through his music.
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I want to do what I want when I want to do it not be dictated to by audiences.
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Even in the former Soviet Union, they have good copies of my movies.
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Profondo rosso (1975) is my favorite movie. The character David Hemmings plays is very much based on my own personality. It was a very strong film, very brutal, and of course the censors were upset. It was cut by almost an hour in some countries.
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To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
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The process of writing and directing drives you to such extremes that it`s natural to feel an affinity with insanity. I approach that madness as something dangerous and I`m afraid, but also I want to go to it, to see what`s there, to embrace it. I don`t know why but I`m drawn.
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If you make a film normally it`s all right, the distributors are helpful and cooperative. But if you make a film that`s a little stange, a little bizarre, then all the time it`s a struggle with them.
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But you know, as you say, the original versions of my films are getting out there, slowly.
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But no one should have the right to manipulate my films in the first place.
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I wanted something new, the supernatural. The witch, the sorcerer, I love this. I love the films of the witch and sorcerers and magic, it`s wonderful!
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[Phenomena (1985)] was inspired by something I heard about insects being used to solve crimes, and because insects have always fascinated me I began to make a story around this idea. You know, it`s a terrible thing, but there are many insects that are disappearing. Becoming extinct. But most people only want to kill them. You know, insects have souls, too; they`re telepathic . . . amazing. People want to save the whales and dolphins, but nobody wants to save the insects. I`m a vegetarian, because I don`t want to kill things to eat.
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Paradise is too perfect for humanity.
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I like to watch many things, especially strange films and something recent, not just the story.
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Horror by definition is the emotion of pure revulsion. Terror of the same standard, is that of fearful anticipation.
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So I haven`t thought about the critics for a long time.
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Trivia
Long-term partner was Daria Nicolodi; they were never married, though this has been reported in several sources.
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Member of the jury at the Berlin International Film Festival in 2001
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His favorite director and a source of inspiration is Ingmar Bergman.
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In November of 1997 he made a run for political office in Rome.
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Older brother of Claudio Argento.
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Father of actresses Asia Argento and Fiore Argento.
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Has a twenty year old black cat named Liebe
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He is a strong supporter of the famous Italian soccer team: "Lazio"
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His scripts often contain some kind of strange scientific or medical factoid.
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Son of Salvatore Argento.
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Discovered actress Coralina Cataldi-Tassoni after seeing her on Italian television. He later cast her in Demoni 2... L'incubo ritorna (1986).
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For the first three of his "giallo" thrillers, his writing collaborator was Bryan Edgar Wallace, the son of British author Edgar Wallace.
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