![]() ![]() These days, music has become a larger focus. If people put interpretations on my movies, it makes me seem smarter than I really am, which is what I want,” he says, still stunned that the little boy who grew up watching ’50s monster movies would someday be perceived as an auteur. “There’s always some interpretation that I have no idea what they’re talking about, but I keep my mouth shut. The comment is made not with false modesty, but rather a disbelief that anyone would take the time to analyze his oeuvre - let alone call it an oeuvre.Įlsewhere, he reflects on the decades of analysis moviegoers have invested in his work. “I don’t evaluate myself,” he says at one point, when asked about skill as a filmmaker. That’s not even counting fan favorites like 1980’s ghost story “The Fog,” starring Curtis, and 1981’s dystopic “Escape From New York,” featuring Russell in one of his signature roles - the post-apocalyptic badass Snake Plissken.ĭespite his fanatical fan base, Carpenter is self-deprecating. ![]() In one six-year stretch alone, he directed three hugely influential works: the 1976 indie ”Assault on Precinct 13,” in which a small group of cops and criminals defend a police station from hostile takeover by a gang 1978’s ” Halloween,” in which a teenage babysitter (played by Jamie Lee Curtis in her film debut) is stalked by the unstoppably evil masked murderer Michael Myers and “ The Thing,” from 1982 (considered a masterpiece of practical effects), where Kurt Russell and a killer group of character actors are pitted against an alien that has infiltrated their Antarctic research facility. 16, which also marks nearly 50 years since the release of his first movie, the USC student-film-turned-feature “Dark Star.” Since then, Carpenter’s subversive genre films have inspired decades of knockoffs, sequels and reboots. The occasion of this conversation is his upcoming 75th birthday, Jan.
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