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Why I don't like The Walking Dead
Romero needs no introduction to horror fans, having almost single handedly invented the modern zombie film as we know it with Night of the Living Dead (1968) and its subsequent sequels. He in London for a stage interview at the BFI Southbank, as part of their Gothic season. Beforehand, Tim Robey sat down with him to talk zombie origins, the current mania for having them move fast, and his debt to Orson Welles
I think you been involved with a number of video games, as well as all your films.
I always wanted to be involved, but usually when I walk in they say, we do all the design work, we know you not a game person. I always wanted to be part of the design of the game. But I been in a game! I guess I the monster you have to kill? There a version of Call of Duty called, I think, Call of the Dead.
Even so, it must be strange to see zombies flooding the mainstream and becoming part of mass entertainment? Given that, when you reinvented the genre in 1968, it was practically a basement activity
Oh, it definitely was. I used to be the only guy in the playground. Now, my God. I do think the popularity of the creature has come from video games, not film. Zombieland [2009], which was relatively recent, was the first zombie film to break $100 million at the box office, and therefore got Hollywood interested. The remake of Dawn of the Dead [2004] did about $75m, so I think that may have started the ramp. And then Zombieland and now, of course, World War Z. But dozens of hugely popular video games have had a bigger impact.
You said somewhere that you felt Zack Snyder Dawn of the Dead remake was a bit like a video game in itself?
I thought it was, yeah. I sort of thought it lost its reason for being. I know a lot of people really like it very much Stephen King, for example. I didn like it very much. Basically, because I was using the idea for satire. My film needed to be done right when it was done, because that sort of shopping mall was completely new. It was the first one in Pennsylvania that we had ever seen. The heart of the story is based in that. And I didn think the remake had it.
I wondered if it was trying to make a different point, in a way. In your film, the zombies are inside the mall, and carry on as they did in life as brainwashed consumers. Whereas in the remake they barred from it, they on the outside it almost like more of a class thing, where it like a gated society, or something?
In my film the zombies are in there to start with. But most of it is a siege film, where the humans have taken it over. And it similar to that extent. But you change the meaning of it, which is just something that I don particularly like. And I don buy running zombies. There was just so much about it that I couldn buy at all.
That did seem to launch the vogue for fast zombies, didn it?
I guess it did. I think maybe Guillermo del Toro a filmmaker I very much admire launched the idea of fast moving vampires in Blade II [2002]. They were all over the walls and scuttling around like insects or something. Somebody noticed that, and there where I think it all started.
Thinking back to replica how much is a hermes handbag when you made Night of the Living Dead, and thinking about zombie films before that I suppose we point to something like the Jacques Tourneur film, I Walked with a Zombie (1943), which is very different culturally. But I wonder if you derived anything from that tradition at all?
I was almost consciously trying to stay away from it. And I didn call them zombies in Night of the Living Dead, and I didn think they were. Because those films the traditional Haitian voodoo zombie is not dead. And I thought I was doing something completely new by having the dead rise. The recently dead. They too weak to dig themselves out of graves. They too weak to eat brains, because they never crack the skull. I have these sort of rules that I use, that everyone seems to have gone away from. Not that it my way or the highway, that not what I saying. It just what I prefer. But I consciously was avoiding influences from that. Maybe, indirectly, some of the lighting and the photography, although I was modelling mine more after Welles. Welles Shakespeare films Othello [1952], that what I was trying to ape there. But I really was not using any of that mythology. The tone perhaps, a little bit. But that the tone of many more serious horror films back then.
You often talk about the casting of your leading man [the African American actor Duane Jones] as kind of an accident. But it's a very uncanny one! Not only because of the relevance to that exact moment in time, with the assassination of Martin Luther King, but also, given that history of zombie films, the Haitian tradition of black zombies, you have a black hero, it kind of an uncanny parallel.
That the first time anyone mentioned that! But it does seem an obvious connection. When John Russo and I collaborated on the final screenplay, the character was white. And we consciously, deliberately didn change the script when Duane agreed to play the role. He was simply the best actor from among our friends. And then, we finished the film, we were actually driving it to New York to see if anyone would want to distribute it, and that night, on the car radio, we heard that King had been assassinated. And all of a sudden, the film took on the feel of a racial statement. That was not intended at all. The same things happened to that character when he was white. The posse shot him, because they thought he was a zombie.
George A Romero. Picture: AP
Now you moved into fast, digital, film making. You seemed to downscale your films after Land of the Dead (2005). Was Diary of the Dead (2007) mainly about that new technology?
Yes, it was meant to be. So it almost needed to be shot that way. But I would have done it anyway. I actually did all the finishing work on Bruiser [2000] digitally. Because you just can beat it with a stick. Again, Land of the Dead was 35mm, but had a lot of digital effects, and was finished in digital. You can just do so much more with it, with the timing and colour balance, and light and dark, and you can dodge parts of a shot, it like having a dark room. And now with the really high def stuff, you can blow it up, zoom it in, without losing quality. It terrific. And also, just simply the effects. When you shooting super low budget we had 20 days to shoot Diary, and a little over $2 time is money. It much easier. If a squib doesn work, you have to clean it up, reset it, and that takes 45 minutes, whereas if one guy points a gun, the zombie falls down, you can paint in the gun flash, you paint in the splatter. It doesn how much is a hermes birkin handbags feel as good, it doesn look as good, because it doesn interact hermes bags replica with everything nicely, but it saves the day, basically.
Does that mean you miss anything about the old days, given that you were established with Tom Savini and all those guys, doing the practical effects?
Oh yeah. I loved doing it manually. There much more of a sense of achievement for all of us. it worked! you know? It was wonderful. It was sort of a team effort, with much more of a sense of accomplishment when you were able to pull it off. However, the last time where we really tried to do really elaborate prosthetic effects was Land of the Dead, with Greg Nicotero, who worked on that. And there were several effects that were carefully planned, and we were doing them the way we did them in the old days, and we did have enough time in Land of the Dead to go back and try it again. There were some that we just couldn do, effectively enough. All of a sudden it started to look funky. There so much to forgive, particularly in Dawn. Day of the Dead [1985], some of them look really look terrific. But in Dawn, some of them are hard to forgive. Now, you can get away with that.
I thinking back to a helicopter blade slicing off the top of a zombie head
In Dawn, yes. That was a completely prosthetic effect. The blade wasn there. Tom [Savini] rigged it so that with a string he was able to pull off the make up. He found a guy with a fairly flat head, and was able to pull that away, on fish wire, so that it looked like it was being chopped apart. We matted in the blade. We all applauded that one.
It still quite ingenious.
When it worked, it was really great. Tom was great at doing that, at coming up, sometimes last minute, at spectacular and inventive ways of doing things.
Am I right that Land of the Dead was your biggest budget film?
The biggest budget zombie film. The Dark Half [1993] was the biggest overall. I had such a bad experience with that. Orion was supposed to be the filmmaker studio, but I had bigger trouble with them than Universal. I was terrified of Universal! But Orion were really terrible to work for. It was really tough. I didn do Land for Universal, I did it with an independent producer, Mark Canton, and Universal picked it up. But they were there the whole time and they helped us tremendously with post production. They were very cordial and respectful.
So that was a better experience? You said you were a bit overwhelmed by Land of the Dead, that it was all too much
Oh it was too much. I didn think it was necessary. I didn think we needed the stars. Mark Canton wanted the stars, because he thought it would make the film more valuable. But I would rather have had five more days of fake hermes leather handbags shooting than an extra box of cigars for Dennis Hopper. Poor Dennis I mean, I love Dennis. But his cigars were a substantial line item on the budget!
Could you talk about the evolution in style between Night of the Living Dead and Dawn of the Dead? It like we're looking at a newsreel, then a commercial.
Romero needs no introduction to horror fans, having almost single handedly invented the modern zombie film as we know it with Night of the Living Dead (1968) and its subsequent sequels. He in London for a stage interview at the BFI Southbank, as part of their Gothic season. Beforehand, Tim Robey sat down with him to talk zombie origins, the current mania for having them move fast, and his debt to Orson Welles
I think you been involved with a number of video games, as well as all your films.
I always wanted to be involved, but usually when I walk in they say, we do all the design work, we know you not a game person. I always wanted to be part of the design of the game. But I been in a game! I guess I the monster you have to kill? There a version of Call of Duty called, I think, Call of the Dead.
Even so, it must be strange to see zombies flooding the mainstream and becoming part of mass entertainment? Given that, when you reinvented the genre in 1968, it was practically a basement activity
Oh, it definitely was. I used to be the only guy in the playground. Now, my God. I do think the popularity of the creature has come from video games, not film. Zombieland [2009], which was relatively recent, was the first zombie film to break $100 million at the box office, and therefore got Hollywood interested. The remake of Dawn of the Dead [2004] did about $75m, so I think that may have started the ramp. And then Zombieland and now, of course, World War Z. But dozens of hugely popular video games have had a bigger impact.
You said somewhere that you felt Zack Snyder Dawn of the Dead remake was a bit like a video game in itself?
I thought it was, yeah. I sort of thought it lost its reason for being. I know a lot of people really like it very much Stephen King, for example. I didn like it very much. Basically, because I was using the idea for satire. My film needed to be done right when it was done, because that sort of shopping mall was completely new. It was the first one in Pennsylvania that we had ever seen. The heart of the story is based in that. And I didn think the remake had it.
I wondered if it was trying to make a different point, in a way. In your film, the zombies are inside the mall, and carry on as they did in life as brainwashed consumers. Whereas in the remake they barred from it, they on the outside it almost like more of a class thing, where it like a gated society, or something?
In my film the zombies are in there to start with. But most of it is a siege film, where the humans have taken it over. And it similar to that extent. But you change the meaning of it, which is just something that I don particularly like. And I don buy running zombies. There was just so much about it that I couldn buy at all.
That did seem to launch the vogue for fast zombies, didn it?
I guess it did. I think maybe Guillermo del Toro a filmmaker I very much admire launched the idea of fast moving vampires in Blade II [2002]. They were all over the walls and scuttling around like insects or something. Somebody noticed that, and there where I think it all started.
Thinking back to replica how much is a hermes handbag when you made Night of the Living Dead, and thinking about zombie films before that I suppose we point to something like the Jacques Tourneur film, I Walked with a Zombie (1943), which is very different culturally. But I wonder if you derived anything from that tradition at all?
I was almost consciously trying to stay away from it. And I didn call them zombies in Night of the Living Dead, and I didn think they were. Because those films the traditional Haitian voodoo zombie is not dead. And I thought I was doing something completely new by having the dead rise. The recently dead. They too weak to dig themselves out of graves. They too weak to eat brains, because they never crack the skull. I have these sort of rules that I use, that everyone seems to have gone away from. Not that it my way or the highway, that not what I saying. It just what I prefer. But I consciously was avoiding influences from that. Maybe, indirectly, some of the lighting and the photography, although I was modelling mine more after Welles. Welles Shakespeare films Othello [1952], that what I was trying to ape there. But I really was not using any of that mythology. The tone perhaps, a little bit. But that the tone of many more serious horror films back then.
You often talk about the casting of your leading man [the African American actor Duane Jones] as kind of an accident. But it's a very uncanny one! Not only because of the relevance to that exact moment in time, with the assassination of Martin Luther King, but also, given that history of zombie films, the Haitian tradition of black zombies, you have a black hero, it kind of an uncanny parallel.
That the first time anyone mentioned that! But it does seem an obvious connection. When John Russo and I collaborated on the final screenplay, the character was white. And we consciously, deliberately didn change the script when Duane agreed to play the role. He was simply the best actor from among our friends. And then, we finished the film, we were actually driving it to New York to see if anyone would want to distribute it, and that night, on the car radio, we heard that King had been assassinated. And all of a sudden, the film took on the feel of a racial statement. That was not intended at all. The same things happened to that character when he was white. The posse shot him, because they thought he was a zombie.
George A Romero. Picture: AP
Now you moved into fast, digital, film making. You seemed to downscale your films after Land of the Dead (2005). Was Diary of the Dead (2007) mainly about that new technology?
Yes, it was meant to be. So it almost needed to be shot that way. But I would have done it anyway. I actually did all the finishing work on Bruiser [2000] digitally. Because you just can beat it with a stick. Again, Land of the Dead was 35mm, but had a lot of digital effects, and was finished in digital. You can just do so much more with it, with the timing and colour balance, and light and dark, and you can dodge parts of a shot, it like having a dark room. And now with the really high def stuff, you can blow it up, zoom it in, without losing quality. It terrific. And also, just simply the effects. When you shooting super low budget we had 20 days to shoot Diary, and a little over $2 time is money. It much easier. If a squib doesn work, you have to clean it up, reset it, and that takes 45 minutes, whereas if one guy points a gun, the zombie falls down, you can paint in the gun flash, you paint in the splatter. It doesn how much is a hermes birkin handbags feel as good, it doesn look as good, because it doesn interact hermes bags replica with everything nicely, but it saves the day, basically.
Does that mean you miss anything about the old days, given that you were established with Tom Savini and all those guys, doing the practical effects?
Oh yeah. I loved doing it manually. There much more of a sense of achievement for all of us. it worked! you know? It was wonderful. It was sort of a team effort, with much more of a sense of accomplishment when you were able to pull it off. However, the last time where we really tried to do really elaborate prosthetic effects was Land of the Dead, with Greg Nicotero, who worked on that. And there were several effects that were carefully planned, and we were doing them the way we did them in the old days, and we did have enough time in Land of the Dead to go back and try it again. There were some that we just couldn do, effectively enough. All of a sudden it started to look funky. There so much to forgive, particularly in Dawn. Day of the Dead [1985], some of them look really look terrific. But in Dawn, some of them are hard to forgive. Now, you can get away with that.
I thinking back to a helicopter blade slicing off the top of a zombie head
In Dawn, yes. That was a completely prosthetic effect. The blade wasn there. Tom [Savini] rigged it so that with a string he was able to pull off the make up. He found a guy with a fairly flat head, and was able to pull that away, on fish wire, so that it looked like it was being chopped apart. We matted in the blade. We all applauded that one.
It still quite ingenious.
When it worked, it was really great. Tom was great at doing that, at coming up, sometimes last minute, at spectacular and inventive ways of doing things.
Am I right that Land of the Dead was your biggest budget film?
The biggest budget zombie film. The Dark Half [1993] was the biggest overall. I had such a bad experience with that. Orion was supposed to be the filmmaker studio, but I had bigger trouble with them than Universal. I was terrified of Universal! But Orion were really terrible to work for. It was really tough. I didn do Land for Universal, I did it with an independent producer, Mark Canton, and Universal picked it up. But they were there the whole time and they helped us tremendously with post production. They were very cordial and respectful.
So that was a better experience? You said you were a bit overwhelmed by Land of the Dead, that it was all too much
Oh it was too much. I didn think it was necessary. I didn think we needed the stars. Mark Canton wanted the stars, because he thought it would make the film more valuable. But I would rather have had five more days of fake hermes leather handbags shooting than an extra box of cigars for Dennis Hopper. Poor Dennis I mean, I love Dennis. But his cigars were a substantial line item on the budget!
Could you talk about the evolution in style between Night of the Living Dead and Dawn of the Dead? It like we're looking at a newsreel, then a commercial.
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