Quotes from David Slade

I don't like doing the same thing over and over again, because I learn from being challenged.

I look for challenges. I really do.

To get the film in your head on the screen, first you have to take it out of your head and explain it to everyone who is working with you. This will take work and planning.

Certainly there is a lot of collaboration, but there is also a lot of clarity that has to be had in the vision that you have for the film when you come in as the director. Without that, there's no bullseye to be aiming for.

Suspense is a real tough beast in terms of the filmmaking.

I don't see myself as particularly highbrow. I am much more populist.

Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.

Film is always a fight because you're the person, as the director, with a clear picture in your head of what you think is really exciting, and you're just trying to convince a bunch of other people to buy into that.

I think filmmaking is largely about preparation and taste and luck. If you have all of those three things, I think you will find you can work somehow.

I'd love to make films in England, and I tried to. I think there's a wealth of amazing talent and astonishing writing over here; there just seems to be more of a culture of developing films than actually making them.

I think, as a filmmaker, you're always responsible for your film.

I believe that filmmaking is a brilliant thing to do - be doing - for a living.

With 'Cold Skin,' I believe we can create a lasting psycho-physiological horror film. It is one of the most atmospheric, terrifying, cinematic, and original stories of the human spirit.

Film will always be my main focus, but designing and publishing my own work is something I will also always do.

Appreciate good coffee when it's available, but drink whatever they have on set and always say thank you for it.

My agent and manager would sternly tell me exactly the number of projects that we've turned down at this point. But, I think it's really important to do the right thing next.

When I got the script for 'Eclipse,' I thought it was a damn good story.

Here I was, having done a thriller and a horror movie - why did I have the audacity to make a romantic fantasy? How can I continue to make genre films? Well, maybe I don't want to continue to make genre films.

I think it's a mistake to try and overthink how you are going to be received, because that assumes that you are going to be received in the first place.

It's funny: I rarely reference anything, and I'm one of those people that doesn't really spend much time in other people's worlds. I just try and create my own and make it as distinctive as I can.

There's so much burying of heads in sand going on in the U.S., people are finally beginning to recognize that the environment is dying, but it's far too late, and I am conflicted.

I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to human faces than maybe other directors will be.

What attracted me to 'Eclipse' was that it is a great story and a tremendous challenge for me as a filmmaker.

I think it's really difficult to justify converting a film that wasn't shot in 3-D into 3-D. I really do believe, as does James Cameron and all the people who are actually pro-3-D, that you have to go out and shoot it that way. You have nothing but compromise if you don't.