Eli Roth

Eli Roth
Eli Raphael Rothis an American film director, producer, writer and actor. He is known for directing the horror film Hostel and its sequel, Hostel: Part II. He is also known for his role as Donny "The Bear Jew" Donowitz in Quentin Tarantino's war film Inglourious Basterds for which he won both a SAG Awardand a BFCA Critic's Choice Award. Journalists have included him in a group of filmmakers dubbed the Splat Pack for their explicitly violent and bloody horror films...
NationalityAmerican
ProfessionDirector
Date of Birth18 April 1972
CityNewton, MA
CountryUnited States of America
You have to write scenes and design scenes that are scary and horrific, but that are also watchable. I didn't want people to just feel like they got punched in the stomach.
Once I got over the fear of writing female characters, it actually came quite easily and I was really happy with it. I just thought about girls I knew really, really well and I'd just have conversations with them and tried to relay how they talk about certain things.
Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"
Creative writing and shooting are muscles that atrophy. But when you work them, you become a self-generator who can branch out.
I have so many different projects, I hear voices in my head - the characters talking all at once - and I have to write to make them stop.
I've realized that I can't multitask in the writing department; I can only kind of do one thing at a time.
I have the infinite galaxy from '2001 as my screensaver - so if I space out while I'm writing and it goes to screensaver, I can just stare off into the stars.
I look at careers like Ben Stiller and think that's a great career to have where you're doing movies that you write and direct, and also act in films, although he's primarily an actor.
There's a crazy, false notion that audiences are not patient or will not watch a story, that you have to put in a scare every ten minutes. But I always thought that was insane.
Right now we're at war, and then you have Hurricane Katrina, where there are people on roofs screaming for help. I have this feeling that civilization could collapse, and that if you go overseas, you could get killed, that you could be in the middle of nowhere, and that someone could kill you and no one would find you. This film is also about the dark side of human nature. Everyone's life has a price. I want the audience to feel guilty. I want them to feel sick to their stomach, but by the end they're screaming for blood. Everyone has this evil within them.
People don't enjoy violence in real life, but they love it in their movies. And I think a lot of studio horror movies don't want to offend anybody. If there's anything that's too far out there, they test it and if it offends people, they take it out. But Open Water , Wolf Creek , The Devil's Rejects - these are movies made outside of the studio system, that don't have a happy ending. (The studios and critics) forget that that's what people are paying for - to be terrified and disturbed.
You know, the dirty secret in the Director's Guild is that the average life expectancy of Director's Guild members is 57 years old. The stress level is so high and directors are generally really out of shape, cause they sit in the chair and they eat craft service.
What I've always thought I would do is make a bunch of movies and then stop to teach for awhile. And then just teach at film schools - you know, teach children.
When you make a film for a million and a half dollars and it opens at 20 million, the next question out of everyone's mouth is, 'When's the next one, when's the next one, when's the next one?'