Joseph James Dante Jr. (/ˈdɑːnteɪ/; born November 28, 1946) is an American film director, producer, editor and actor. His films—notably Gremlins (1984)—often mix fantastical storylines with comedic elements.
When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing, you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.
I've always felt that I shouldn't make a movie if someone else could do it better.
I really have to feel that I could make a difference in the movie, or I shouldn't be doing it.
You do form a cadre of people that you trust and who are good at their jobs and who know you and what your quirks and foibles are. It makes making movies very collegial and a lot more fun.
I mean, movies are all geared to be basically under 25, and they're all tentpoles, explosions, excitement and all that - they take advantage of the big screen, which is great.
Finding a writer who can write decent kids' dialog and finding kids that can act realistically and not 'cute' is an effort.
I've sort of closed my mind off to reality shows: I just don't watch them, don't care about them, don't know who the characters are, but they're all in general usage.
I love 'Evil Dead 2!' Who doesn't love 'Evil Dead 2?
Avatar' is the greatest, most comprehensive collection of movie cliches ever assembled, but it's put together in a brand new way with a new technology, and tremendous imagination, making it a true epic and a kind of a milestone.
Editing is kind of a solitary job.
When I was growing up in the '60s I would have thought that westerns would last forever.
Movies cost so much that studios really try to impose their personality over yours. A lot of times, you can get swallowed up in that and end up making movies that are indistinguishable from anybody else's. One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine. But that also comes from what you choose to do and what you choose not to do. There are certain projects I could have said yes to, and I know exactly how they would have turned out: exactly the way they turned out when someone else did them.
Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.
I've made a lot of movies with kids in them. I don't know why that is, but it's something I've noticed.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.
I think I entered the market around the time when there was getting to be less snobbery about the difference between feature films and television. I think there's been a lot more receptivity on television to interesting adult stories that in the '60s and '70s would have been made into feature films. I have no problem jumping back and forth. If anything, I find it less restrictive working in television.
It's very hard to have lived through the Sixties and not be political.
I go to a lot of independents and foreign films. I really try to keep up and see what there is to see. If you really love movies, it's the act of watching them that you really love. You can sit and watch a B-Western and have just as much fun watching that as you can a classic. That minute when the lights go down is the part where the magic happens, because you know this could be great. You're always kind of excited, like, "Here I am again in the church of movies, and Mass is starting. ".
I don't believe that you can judge the worth of a movie in the atmosphere in which it comes out the first time. There's just so many reasons why some pictures don't catch on.