George A Romero Bio & Filmography
George A Romero Deep Dark Thoughts
I knew as soon as I saw Night of the Living Dead, I was hooked. Zombies are so cool. Thereee’s nothing creepier than a cemetery at night populated with the walking dead searching for the substance of human flesh. And the man most directly responsible for this phenomena is none other than George Romero.
Night of the Living Dead was the first film of Romero’s that I saw. Man, was I hooked. Slowly I have worked through the whole catalog. Thereee have been some really weird ones like Season of the Witch. Thereee have been some that were alright like The Crazies, The Dark Half and Creepshow 2. And of course, some that are classics like Night of the Living Dead, Dawn of the Dead, and Day of the Dead which is my least favorite of his “living dead” movie, but still a great zombie film. I am even a big fan of Monkey Shines, Martin, Creepshow, and Knightriders.
Later, Dawn Romero took his vision one step further and focused on the human dilemma of survival, rather than traditional gore aspects of the genre. He re-established use of the storyline in horror and developed characters that we could really care about and other we didn’t. Rarely, do you see such substance in horror films? Romero definitely was ahead of his time.
Then with Day of the Dead, Romero wanted and need to go farther, and produce a “zombie epic”. The world he created needs to be destroyed by the true zombies…man. He vision was constrained by the machine that is Hollywood. They would never spend the kind of money Romero need to realize his dream. Unfortunately for us, we received a very watered-down version of Romero’s original concept for this film.
Recently, there has been the talk of a fourth “Living Dead” movie. Romero wasn’t able to make Day the movie he envisions and really wants to complete the series. This year marks the 30th anniversary of Night. A Special Edition, of which Romero has vigorously denied any involvement, is said to be released with new footage. Let’s also not overlook that this year marks the 20th anniversary of Dawn. Let’s all rejoice in the majesty of these films and the joy they have brought over the years and pray that George Romero can make the next “Living Dead” movie his best ever.
NEW FLASH—Here is some sad news. Capcom Producer Yoshiki Okamoto told the editors of “Electronic Gaming Monthly” that “His (Romero) script wasn’t good, so Romero was fired”. Email Capcom and tell them how pissed you are at firstname.lastname@example.org.
Also, Romero has just finished a film called “Bruiser”. I was able to see the film at this year’s Cannes Film Festival. Watch the House for my exclusive review of George Romero’s newest film but in the meantime check out the movies official website at http://www.brusier.com from more details.
Again, as always, if you have anything you can add to help improve this page or if you have any comments, criticisms, and suggestions, please e-mail me.
George A Romero Bio
The following bio was taken from the book “The Fearmakers” by John McCarthy. This book looks at some of the greatest masters of suspense and terror (i.e. Tod Browning, James Whales, Roger Corman, William Castle, Terrance Fisher, George Romero, Dario Argento, Wes Craven, John Carpenter, and many more). I highly recommend this book to all horror aficionados.
In 1968, George A. Romero forever changed the face of fear-film with his groundbreaking “Night of the Living Dead”. The film has inspired dozens of imitations, kept millions of viewers awake at night, and paved the way for a new generation of cinema. Aside from its explicit violence and taut storytelling style, “Night of the Living Dead” proved to aspiring directors that one needn’t have the backing of a major studio to produce work of enduring popularity. However indirectly, we have this film and Romero to thank for the blossoming of independent cinema that has taken place over the past twenty-five years.
But Romero’s contribution to American film only began with “Night of the Living Dead”. Since that film, he has directed more than a dozen films and television shows, and his talent shows no sign of fading. Romero’s distinctive style and his consistent concern for strongly acted, suspenseful situations place him among the better American directors both and out of the genre he has chosen.
Born in the Bronx in 1939, Romero began making his first films, in 8mm while still in his teens. He later studied art, design, and theater at the Carnegie-Mellon Institute of Art in Pittsburgh, where he graduated in 1961 with a B.A. Subsequently, he formed his own Pittsburgh-based company, Latent Image, to produce industrial films and television commercials. Then in 1967, he teamed up with another Pittsburgh advertising firm, Hardman Associates, to produce a low-budget feature-length horror film that he hoped would serve as his ticket into the film industry.
As a result, “Night of the Living Dead” took shape more as a portfolio piece than as a self-conscious entry into fear film. Owing to its popularity and marketability, the horror film has traditionally been the proving ground for unknown directors, since it’s much easier to find a distributor for horror movies than it might be for a drama or a comedy.
Romero’s first film was a demonstration not only that he could direct a film but that his direction was versatile. The overwhelmingly suspenseful mood of the film also contains moments of dark humor (“They’re dead . . . they’re . . . all messed up”), romance, and tragedy. This blend of the horrific with the drama of everyday life immediately marks the film as one of lasting power.
Romero dislikes being tagged as a “message filmmaker.” His films, though, do have messages, and it’s hard to believe those messages end up in his films without Romero’s knowledge or permission. “Night of the Living Dead”, like the majority of his films, has a bitter, cynical message, which, simply put, is this: People are too petty, too full of themselves, ever to survive.
After “Living Dead”, Romero made “The Crazies” (a.k.a.”Code Name: Trixie” 1973), a dark film about the effects of chemical poisoning in a small Pennsylvania town. As in “Living Dead”, feverish claustrophobia leads to distrust of organized control systems (the armed forces in this case) and the terrors of social upheaval. Wishing to expand his repertoire, Romero moved on to the defiantly unusual “Martin” (1978). Starring John Amplas in the title role, Martin is an innovative take on the traditional vampire myth.
Yes, Martin does drink blood, but it’s unclear whether his thirst stems from supernatural craving or neurosis. Throughout Romero’s films runs the theme of doubt in organized systems, whether they be mythic, supernatural, or social. Martin continually mocks his aging cousin, Tata Cuda (Lincoln Maazel), for believing in the folklore surrounding vampirism. Early in the film, Martin emphasizes his contempt for Cuda’s superstitions by caressing a crucifix and eating garlic.
As the dumbfounded Cuda looks on in shock, Martin tells him, “It’s just a sickness—there isn’t any magic.” Martin’s comment may refer to his own vampirism, or to Cuda’s reliance on symbols and totems. Either way, the film offers us both Martin’s fantasy life (in haunting, surreal black and white) and his real one (in color) as he goes about stalking his victims. In the vampire sequences, Romero’s fondness for undermining his audience’s expectations comes to the fore.
Martin’s visions are romantic, adventurous period pieces set in lush locations. In contrast to these lurid fantasies, the actual stalking of his victims against the banal backdrop of suburban America seldom goes easily; his victims fight, shout, and struggle. Martin’s desire, he confesses to a radio talk-show host, is to have sex without “the blood part.” Sadly, his first such encounter, in the arms of a depressed neighborhood housewife, leads to his undoing. When she commits suicide, Cuda imagines that Martin killed her, and, having sworn to destroy him if he ever did such a thing, Cuda unceremoniously pounds a stake into him.
George A Romero Filmography
- From a Buick 8 (2007)
- Diary of the Dead (2007)
- Land of the Dead (2005)
- Ill, The (2001)[Director] [Writer]
- Bruiser (2000)[Director] [Writer]
- Night of the Living Dead: 30th Anniversary Edition (1999)[Director] [Writer]
- Dark Half, The (1993)[Director] [Writer] [Producer]
- Silence of the Lambs, The (1991)[Actor …. FBI Agent in Memphis]
- Due occhi diabolici (1990)[Director] [Writer]
- … aka Two Evil Eyes (1990) (USA)
- Night of the Living Dead (1990)[Writer] [Producer]
- Tales from the Darkside: The Movie (1990)[Writer]
- Document of the Dead (1989)[Actor]
- Monkey Shines (1988)[Director] [Writer]
- … aka Ella (1988)
- .. aka Monkey Shines: An Experiment in Fear (1988) (USA: promotional title)
- Creepshow 2 (1987)[Writer]
- Drive-In Madness! (1987)[Actor …. Himself] .
- aka Screen Scaries (1987) (USA: video title)
- Lot swierkowej gesi (1987)[Actor …. Gromero]
- … aka Flight of the Spruce Goose (1987) (USA)
- Day of the Dead (1985)[Actor …. Zombie with Scarf] [Director] [Writer]
- “Tales from the Darkside” (1984) TV Series[Director] [Producer]
- Creepshow (1982)[Director] [Editor]
- Knightriders (1981)[Director] [Writer] [Editor]
- Dawn of the Dead (1978)[Actor …. TV Director] [Composer] [Director] [Writer] [Editor]
- … aka Dawn of the Living Dead (1978)
- … aka Zombi (1978) (Italy)
- … aka Zombie: Dawn of the Dead (1978)
- … aka Zombies (1978)
- Martin (1978)[Actor …. Father Howard] [Director] [Writer] [Editor]
- Crazies, The (1973)[Director] [Writer] [Editor]
- … aka Code Name: Trixie (1973)
- … aka Mad People, The (1973)
- Season of the Witch (1972)[Cinematographer] [Director] [Writer] [Editor]
- … aka Hungry Wives (1972)
- … aka Jack’s Wife (1972)
- Thereee’s Always Vanilla (1972)[Cinematographer] [Director] [Editor]
- .. aka Affair, The (1972)
- Affair, The (1969)[Director]
- Night of the Living Dead (1968)[Actor …. Washington Reporter] [Cinematographer] [Director] [Writer][Editor]
- … aka Night of Anubis (1968)
- … aka Night of the Flesh Eaters (1968)
- It Happened to Jane (1959)[Miscellaneous crew]
- … aka Twinkle and Shine (1959)
George A Remero Fanspeak
RE: GEORGE ROMERO
I WAS VERY DISSAPPOINTED WHEN I WENT TO READ FANSPEAK ON THE GEORGE ROMERO DIRECTORS PAGE….NO ONE HAD WRITTEN A THING…ETHIER NO ONE VISITS THIS SITE (WE ALL KNOW THAT’S NOT TRUE) OR NO ONE TRULY RESPECTS GEORGE ROMERO’S VISION…I ALSO FIND THAT HARD TO BELEIVE. BUT IN THIS FUCKED UP SOCIETY WE LIVE IN THERE ARE ALOT OF IGNORENT PEOPLE WHO CAN’T ACCEPT TRUE TALENT (NIRVANA FANS, SCREAM TEENEY BOPPERS, AND THE LIKE) PEOPLE ARE TO BUSY JUDGEING TALENT BY POPULARITY, AND NOT EVEN ATTEMPTING TO SEE TRUE VISION. I MIGHT JUST BE PISSED OFF AT THE WORLD IN GENERAL. BUT I THINK GEORGE ROMERO NEEDS TO GET THE CREDIT HE DESERVES!!!!!!!!!!!!!!
RE: homage to Romero
I’m at work, so I don’t have time to get into detail here. I love Romero’s films for so many reasons. Fans should eventually watch Return of the Living Dead, which is not a Romero film, but if watched in the spirit of fun can be a great tongue-in-cheek homage to the zombie master. Keep in mind that this movie is a product of the 80s (evident through nuclear scare/cold war paranoia overtones). After repeated viewings, many elements of Romero films are honored. Apparently Dan O’Bannon and the crew of this movie knew what was good about Romero’s movies and paid tribute to these elements in a crappy 80s movie. The gore is all there with some disturbing (and thought out) details. I can’t type fast enough to do this movie justice, but I challenge anyone who feels that this movie is a waste of time or a shameful rip-off of Romero’s flicks. Watch it for laughs, I’m watching it tonight for the fourth time this week. For you children of the 80s (who have a right to be screwed up) it’s a must.
If anyone would like to discuss this movie, Romero movies, horror movies, or if you want to argue with me…E-Mail!!