Rider encounters Caster in her mid-fight in Ryuudou Temple . Caster greets her intruder and asks her reason to fight as she considers Rider, a stray Servant who has been thrown out by her Master like yesterday's trash. Rider states she wants the Holy Grail and questions Caster if there is any difference in whether a human or a Servant wants to get their hands on the Holy Grail. Caster replies that as long as the wish is sincere and she can tell that Rider is willing to do whatever it takes to get a hold of it. But Caster considers this is not enough reason to fight, therefore, there must have other reason why Rider desires the Grail. Caster reasoned that Rider might be devoted to the ritual itself. Rider decided to defeat Caster, as she would be able to use both white or black Grail too well and they never did get along.
Night of the Living Dead was the first feature-length film directed by George A. Romero. His initial work involved filming shorts for Pittsburgh public broadcaster WQED 's children's series Mister Rogers' Neighborhood .   Romero's decision to direct Night of the Living Dead essentially launched his career as a horror director. He took the helm of the sequels as well as Season of the Witch (1972), The Crazies (1973), Martin (1978), Creepshow (1982) and The Dark Half (1993).  Critics saw the influence of the horror and science-fiction films of the 1950s in Romero's directorial style. Stephen Paul Miller, for instance, witnessed "a revival of fifties schlock shock... and the army general's television discussion of military operations in the film echoes the often inevitable calling-in of the army in fifties horror films". Miller admits that " Night of the Living Dead takes greater relish in mocking these military operations through the general's pompous demeanor" and the government's inability to source the zombie epidemic or protect the citizenry.  Romero describes the mood he wished to establish: "The film opens with a situation that has already disintegrated to a point of little hope, and it moves progressively toward absolute despair and ultimate tragedy".  According to film historian Carl Royer, Romero "employs chiaroscuro ( film noir style) lighting to emphasize humanity's nightmare alienation from itself".