Terence Fisher
Terence Fisher: A Master of Gothic Horror
Full Name and Common Aliases
Terence Reginald Fisher was a British film director, best known by his mononym Terence Fisher.
Birth and Death Dates
Born on February 23, 1904, in Merton Park, London, England. Fisher passed away on June 16, 1968, at the age of 64.
Nationality and Profession(s)
British film director, primarily active in the horror genre.
Early Life and Background
Terence Fisher was born into a family with strong theatrical roots. His mother, Elizabeth Fisher, was an actress, and his father, Terence Reginald Fisher Sr., was an actor and manager. Growing up, Fisher developed a passion for music, theater, and cinema. Before entering the film industry, he worked as a concert pianist and stage actor.
Major Accomplishments
Fisher is credited with directing some of the most iconic horror films in British cinema history, including The Curse of Frankenstein (1957) and Dracula (1958). These two films marked the beginning of Fisher's collaboration with Hammer Films, a partnership that would yield numerous classics over the next decade.
Notable Works or Actions
Some notable works by Fisher include:
- The Hound of the Baskervilles (1959): A classic adaptation of Sir Arthur Conan Doyle's novel.
- The Mummy (1959): A remake of the 1932 original, starring Peter Cushing as Kharis, an ancient Egyptian priest resurrected to protect the pharaoh's tomb.
- Cape Fear was not directed by Fisher. The actual film "Cape Fear" was released in 1962 and directed by J. Lee Thompson.
Fisher also explored other genres during his career, including drama (e.g., I'm All Yours), comedy (e.g., The Intruder), and even a musical (The Little Hut, starring Alec Guinness).
Impact and Legacy
Terence Fisher's work has left an indelible mark on the horror genre. His innovative use of atmospheric settings, iconic makeup designs, and unforgettable performances by actors like Peter Cushing and Christopher Lee have influenced countless filmmakers.
Fisher's collaborations with Hammer Films set a new standard for Gothic horror cinema, introducing audiences to haunting themes, dramatic sets, and elaborate special effects that captivated audiences worldwide.
Why They Are Widely Quoted or Remembered
Terence Fisher's influence on horror cinema can be seen in numerous films and television shows produced after his passing. His innovative style has inspired many directors, including the likes of Tim Burton and Guillermo del Toro.
Moreover, his collaborations with legendary actors Peter Cushing and Christopher Lee have cemented their places as icons of the horror genre. Fisher's impact on popular culture is evident not only in the numerous adaptations of classic novels and characters but also in the lasting appeal of Hammer Films' Gothic horror aesthetic.
As a testament to his enduring legacy, quotes from Terence Fisher himself are often referenced by film enthusiasts and scholars alike. His insights into the art of filmmaking, particularly when it comes to crafting suspenseful scenes and developing memorable characters, continue to inspire new generations of filmmakers and writers.
Quotes by Terence Fisher
Certainly Dracula did bring a hell of a lot of joy to a hell of a lot of women. And if this erotic quality hadn’t come out we’d have been very disappointed.
The written word is the basic of everything. Most important, the idea, and after that, the dialogue. You can rehash the dialogue as you go along, it ’s disgraceful to have to do this, but now and again you have no choice.
Do I believe in the supernatural? Oh yes, certainly. I can’t believe, I can’t accept that you die and that’s the end. Physically maybe it is a fact. But there’s something about the mind that’s more than that.
I believe in building things up, naturally, but I've never isolated the monster from the world around, or tried to avoid showing him.
Chris Lee and Peter Cushing I can't speak too highly of them. In fact to my mind the best films were those in the early days, with Cushing and Lee.
The process is very gradual, you see. At first there's the tainted stage; they know what will eventually happen to them if they go on but they say, 'Oh God, don't do it to me do it again, please, please.'
The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.
We're not as materialistic and income-tax conscious as we think. At the moment our superstitions are tucked away, but come out sometimes in strange ways sex crimes, black masses.
One blob of red in the wrong place and the audience isn't looking at the hero, they're looking at a patch of curtain (or something similar) and your whole effect is lost.