“Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you.George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going.Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others.George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.”

“My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.”

“I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.”

“[on what interests him as a moviegoer] I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance. Those are the kinds of films that interest me. For me, personally, I think watching a movie that simply confirms my feelings is a waste of time. That applies not only to movies, but also to books and every form of art.”

“Do you know anythingabout silent films?”“Sure,” I said. “The first ones were developed in the latenineteenth century and sometimes had live musicalaccompaniment, though it wasn’t until the 1920s that soundbecome truly incorporated into films, eventually makingsilent ones obsolete in cinema.”Bryan gaped, as though that was more than he’d beenexpecting. “Oh. Okay. Well, um, there’s a silent film festivaldowntown next week. Do you think you’d want to go?”I shook my head. “No, I don’t think so. I respect it as anart form but really don’t get much out of watching them.”“Huh. Okay.” He smoothed his hair back again, and Icould almost see him groping for thoughts. Why on earthwas he asking me about silent films? “What about Starship30? It opens Friday. Do you want to see that?”“I don’t really like sci-fi either,” I said. It was true, I found itcompletely implausible.Bryan looked ready to rip that shaggy hair out. “Is thereany movie out there you want to see?”I ran through a mental list of current entertainment. “No.Not really.” The bell rang, and with a shake of his head,Bryan slunk back to his desk. “That was weird,” I muttered.“He has bad taste in movies.” Glancing beside me, I wasstartled to see Julia with her head down on her desk whileshe shook with silent laughter. “What?”“That,” she gasped. “That was hilarious.”“What?” I said again. “Why?”“Sydney, he was asking you out!”I replayed the conversation. “No, he wasn’t. He wasasking me about cinema.”She was laughing so hard that she had to wipe away atear. “So he could find out what you wanted to see and takeyou out!”“Well, why didn’t he just say that?”“You are so adorably oblivious,” she said. “I hope I’maround the day you actually notice someone is interested inyou.” I continued to be mystified, and she spent the rest ofclass bursting out with spontaneous giggles.”

“I smiled, though looking at William K caused me concern. He looked very ill, and he was my only mirror. We could not see ourselves so I relied on the appearance of the other boys, William K in particular, to know something of my own health. We ate the same food and were built in a similar way, so i watched him to see how thin i had become, how my eyes were growing more sunken. On this day i did not look good.”