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
Natural disasters are terrifying - that loss of control, this feeling that something is just going to randomly end your life for absolutely no reason is terrifying. But, what scares me is the human reaction to it and how people behave when the rules of civility and society are obliterated.
Possession and exorcism is something that's in every religion and every culture. It's a real primal fear: Is the body a vessel for our spirits? What happens if something else takes over it? Where does the spirit go?
You can't help but be influenced by the things you love. Read more at: https://tr.im/ezGbq
The film, 'Aftershock,' for me is really about how the minor problems in life that we think are so major ultimately mean nothing when a tragedy happens, when a real problem happens.
The scariest people are usually the sweetest.
My phobias worsen as I get older. I'm scared of flying, driving. I'm terrified of sharks. I'm a germaphobe. But I try to face my fears; I do. Well, most of them.
I felt people responded to two things. One, obviously, is the gore and the scenes like the eye gauging.
When I was 22, I had this horrible psoriasis outbreak. It was all over my legs, I couldn't walk because my legs were cracked and bleeding. Weird things like that can happen to your body.
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.
I think that horror films have a very direct relationship to the time in which they're made. The films that really strike a film with the public are very often reflecting something that everyone, consciously or unconsciously feeling - atomic age, post 9-11, post Iraq war; it's hard to predict what people are going to be afraid of.
I want to have an ending where people say: "That's the most shocking ending I've ever seen in a mainstream horror film."
It's just assumed that a horror sequel is going to be bad. It's never going to be as good as the first one.
For the fee of $10,000, anyone could be escorted to a room, handed a loaded gun and offered another human to kill. The concept made me nauseous. But it also felt real, and rang bells with my more cynical side.
So when I was beating the guy, I started thinking, 'What if I was Hannah Montana?' . . . And little do they know that that's why I look so insane . . . I'm torturing myself with thoughts of, 'How could I actually pull off being a high school student and a pop star at night?'