“Zytrate comes in a little glass vial.”
"A little glass vial?"
"Did I fucking stutter?"
Why not Paris? Here’s the thing: I learned being on the road it’s cool to hate Paris Hilton. It’s vogue to hate her. Log on to Perez Hilton or TMZ or DListed – there is a preconceived notion about who she is.
A lot of people make fun of who she is, but they don’t know who she is. She’s a punch line to a joke. I met her, talked with her five minutes and realized she is not who people think she is; she’s actually really talented. I said to her, “Paris, you’ve impressed me more in the last two minutes than I ever thought humanly possible.” She said, “If playing the blond ditz gets me into rooms with people like you, I’ll keep playing the blond ditz.” She was using three-syllable words – words I didn’t even know – she knew the script inside and out, she was smart and articulate, and that’s why I cast her. I challenge you to tell me she is bad in this film. Critics who say she’s bad in it went in wanting to hate her. The perfect example: Rolling Stone, known as the go-to for music news, reviews Repo!. The movie has more music in it that any movie ever made, more songs originally written for the movie than any movie ever made – and they don’t once talk about [film star] Sarah Brightman or the music. The entire review revolves around Paris. They even call her a slut in the review. I’m like, “Dude, were you even watching the movie, or was this just a chance to attack Paris?”
She has been a blessing and a curse for this movie, but if I had to do it again, I’d cast her again. I’d put her in the movie in a second. She gets unfairly bashed for who she is.
The other reason I wanted her: We wanted the movie to have the “what the fuck?” factor. It’s a movie that doesn’t take itself too seriously. There is drama and horror, but there are moments of camp too. We wanted that “what the fuck?” factor, where you look at the movie poster and you say, “A rock opera starring Paris Hilton? What the fuck?”