John Landis quotes:

I grew up in Los Angeles, and I've made movies all over the world... I've been in New York, Norway, Chicago, Pittsburgh, Philadelphia, London - I've been in all these cities, shooting away in the winter, thinking, 'People who choose to live here are insane.'

After 'The Blues Brothers,' I wanted to do a good musical number with real dancers and shoot it correctly.

I grew up in Los Angeles, and I've made movies all over the world... I've been in New York, Norway, Chicago, Pittsburgh, Philadelphia, London - I've been in all these cities, shooting away in the winter, thinking, 'People who choose to live here are insane.

The guy that I worked on 'Thriller ' was a genius and he was 20 years old, but it was like working with a gifted 10-year-old. The guy who I worked on with 'Black Or White' was crazy. Michael had gone mad.

There have been 14 versions that I can find of Burke & Hare movies. They have all been horror films and all the movies have taken place in Victorian times, which doesn't make any sense.

I would very much like to make Westerns. I love Westerns. I've worked on many Westerns in my youth, in Spain and here, and I love working on them.

I've been all over the world, and to be in Milan and see guys dressed as Jake and Elwood is amazing. They really have become a part of the culture.

The field (of filmmaking) is suddenly sexy, ... so it's deluged with these wannabes who say 'I don't want to be a secret agent, I'll be a filmmaker.' I think a lot of people are really kind of naive.

They sought out rap music to attack, but you don't hear that anymore because it made too much money. They use Che Guevara to sell soft drinks. If something comes out that is radical and it's successful, then it's no longer radical. It's co-opted.

I'm following a real event and real people.

For some reason, people think of me as someone who can do anything I want. And I'm not. You know, I need someone to put up the money.

Anytime something makes money, no matter how outré, it's instantly mainstream. A good example is rock 'n' roll. When rock 'n' roll was first played to a wide audience it was considered the devil's music.

Because of the cumbersome nature of filmmaking, it's only recently that it has become available to the masses, with digital equipment and laptop computers. You can now actually make a pretty serviceable movie for very little money by yourself.

I have always loved you.

In my career, my movies tend to polarize critics.

Directors, like actors, get typecast. And because I've had great success with comedy and horror and TV shows, that's basically what I'm kind of offered.

Universal rushed us. We started shooting without a script that was totally completed.

Directors, like actors, get typecast.

The idea of doing a children's film is different, but quite honestly I like doing anything - any genre. I've only made one Western, which was 'Three Amigos,' but I would love to make a serious Western. I'm just wide open.

I grew up thinking of snow as a luxury you visit.

It's strange how extras have become such a big part of the business. I don't know what I think of it. I mean, some of them are great, most of them are filler.

But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.

Movies are brand new. Film is less than 150 years old. It's brand new, compared to any other art form, all of which are thousands of years old.

The pedigree's pretty high. For people who are really scary movie fans, this is nirvana. If you're in the mood to get scared, just watch this every week. It'll creep you out.

You always want to do something different. I enjoy the process. I like making movies, and it's increasingly hard to find a movie you'd want to make.

Well, the bottom line is that I'm extremely pleased with 'The Stupids.' I'm pleased that it's coming out, and it should look good. It's nice looking, with the colors and stuff. I made it for kids, and I really would like them to see it.

It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'

Quite honestly, ... there`s never been stunt driving before or after as spectacular or elaborate. That`s all real, no (computer trickery).

I'm very lucky to have worked in the '70s. It's a different industry and distribution is in a state of flux. It's all different platforms, they're doing this video-on-demand thing and also playing the film theatrically. It's funny to me: In the States it's an arthouse movie.

Rock 'n' roll started to make so much money and generated so much income for the record companies that suddenly it was no longer evil.

One of the challenges of the movie is there are no apologies or excuses.

I am very direct and I tend to treat everyone exactly the same, which sometimes gets me in trouble because some movie stars feel like they should be treated differently. But, when you're dealing with good actors, they really appreciate it.

Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.