Barbara Steele quotes Born: 12/29/1937 Country: united_kingdom

• After all, film is so porous, and to my mind, so oddly occult, that I think that film itself absorbs odd energies like a living skin. (Barbara Steele) [film/mind/think/film]
• Black Sunday feels like a silent film, with a sumptuous visual baroqueness and certain images that are incredibly powerful - the coach and horses, for instance, implying the coach of death, as ominous as any Bergman image. (Barbara Steele) [film/death]
• Certainly, in Italy, nobody takes light for granted. (Barbara Steele) [light]
• Cult films usually have an element of unease - anarchy, transgressing certain taboos; they are almost always excessive and camp and speak to the counterculture. (Barbara Steele) [/speak]
• Fellini's universe was filled with processions and parades: occult, mystical, generous, bestial, allusive, full of the fantastical, of mythic odyssey and solitude, composed with great tenderness. (Barbara Steele) [universe/solitude]
• How and why Mario Bava chose me, I will never know. (Barbara Steele) [willpower]
• I can recognize if a film is shot in Italy in a nanosecond by the luminosity of its light. (Barbara Steele) [film/light]
• I didn't have any agent; I've never had an agent. (Barbara Steele)
• I don't have an objective overview of Black Sunday (Barbara Steele) [objective]
• I had just returned to Europe after an agonizing year of supernatural solitude under contract to 20th-Century-Fox. (Barbara Steele) [europe/solitude/contract]
• I started out playing this woman from the deep, and I went on doing it... forever. (Barbara Steele)
• I was obliged to stand there, holding the leash of this creature for their welcoming publicity shots, implying that this was some kind of image the decided to have of me. (Barbara Steele)
• I yearned for the privacy and shadowy dark corridors of shrouded London streets, smelling of wet hawthorne, containing their secret nocturnal pleasures, and the intimacy of Europe. (Barbara Steele) [privacy/europe]
• In the sequence where I am burned at the stake, everything was so casual and hazardous that the bottom of my dress caught fire, and the grips became hysterical as they tried to pull me off the stake. (Barbara Steele) [sequence]
• It is interesting to note that the best periods of Italian horror films came out of the Sixties, when Italy was enjoying a carnival period of phenomenal optimism, and the shadowy side surfaced with all of its attendant dark, beautiful, baroque, catholic symbolism. (Barbara Steele) [horror]
• It was said that Ricardo Freda wrote Dr. Hichcock in one week on a bet that he could complete a film from beginning to end of editing within one month. (Barbara Steele) [film/start]
• Italian cameramen grow up immersed in an awareness of light. It is part of their mythology. (Barbara Steele) [awareness/light]
• Mario Bava was a very private man. (Barbara Steele)
• The crew, like all Italian crews, was generous, warm, and enthusiastic. (Barbara Steele)
• This was unimaginable to me, that one could actually have a great time making a film, that it could be a blast despite the medieval solemnity. (Barbara Steele) [time/film]

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