Best 18 quotes of Donald Pleasence on MyQuotes

All the real work is done in the rehearsal period.

At the end of the first Halloween, when I shot 6 bullets into Michael Myers, John Carpenter said, Let's get a shot of you looking out of the window and seeing no one lying there.

At this point in my career, it doesn't bother me much that I'm probably hopelessly typecast. I like to work, and horror films definitely keep me working.

Continental directors, as opposed to British and American, tend to be somewhat high-handed in their approach.

I am not one of those actors who believes he has to live the part he is playing. I can turn it on and off.

I believe you can frighten people without showing their heads caved-in.

I do not use any set methods, not even The Method. The character after all is in the lines.

I do think the story in Halloween 5 is a bit stupid, and there's a lot more blood. They're obviously going to take the Halloween series in a different direction.

I loved working with Jamie Lee Curtis, and I felt she was a wonderful actress even that early in her career.

It's hard to play a continuing character like Loomis for nearly 11 years and simply wash your hands of him. It seems a pity.

I was offered a choice of a flat salary up front or a percentage of the film's future earnings. I took the up front money. Nobody could have figured what Halloween would ultimately become.

John and I had a few meetings about what direction the sequel should take. I made some real insane suggestions. True to what you'd expect, he ignored them all and just picked up Halloween II where the original left off.

John Carpenter created the idea of Halloween, so his vision remains the most focused and intelligently directed of the series. The directors that have followed have kept the original intent of the concept.

Loomis has always felt himself responsible for the fact that he did not stop Michael when he first murdered his sister, and so he's got that guilt to live with.

The idea of dying and coming back is what makes the Halloween films work.

The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.

The process of creation goes on all the time. When I get through, I feel I know what the character will do in every situation. But the building up of the part is not mechanical or deliberate. It grows out of the text.

What can I tell you about things like Circus of Horrors except that I get killed by the bear?