Quotes of All Topics . Occasions . Authors
I got a horror film, 'The Burning,' and suddenly I was making crazy money, like a thousand a week, so I moved into an apartment on Amsterdam with a guy who was also in 'The Burning,' Jason Alexander.
There are many times when a woman will ask another girl friend how she likes her new hat. She will reply, 'Fine,' but slap her hand to her forehead the minute the girl leaves to yipe, 'What a horror!'
I couldn't stop bawling, watching the towers come down. it was a terrible thing to happen. And a terrible thing to realize that I don't sit though the nigh crying when such horrors happen all the time.
Horror isn't only about ghosts or monsters. For example, paranormal romance seems the antithesis of horror. Once you have a sexy, fun vampire who is sweet, and you have a happy ending, it's not horror.
Time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible, then one must try to wriggle through by subtle manoeuvres.
There have been a lot of horror anthologies as of late; movies like V/H/S and The ABCs of Death have brought the anthology back in style. We sort of felt like, "Why don't we do one and do our own thing?"
What scares me is what scares you. We're all afraid of the same things. That's why horror is such a powerful genre. All you have to do is ask yourself what frightens you and you'll know what frightens me.
I feel a horror for exaggerated love or friendship. It's just too well demonstrated to me that when the moment comes that one asks something, or has need of something, the responce is not worth a biscuit.
The thing that makes a great genre movie is one that's not just entertainment, not just horror or sci-fi or whatever. The ones I love are the genre pictures with some subversive message underlying it all.
From the driver's standpoint I had the same horrors, the same satisfactions, the same everything. The speed is relative. It's faster and things are happening quicker, but you have the equipment to handle it.
I've always found it easy and natural and, more importantly, necessary to articulate thoughts and feelings, and fierce emotions, through the written word. Fantasy and horror came to me when I was very young.
I was near the Niagara Falls where I was shivering and delivering my lines. It was minus 17 degrees and I had gone there without proper thermal wear. Tourists looked at me with horror thinking I had gone nuts.
I was a huge horror fan, especially in my teenage years. Back then, there were a lot of Italian horror movies - some zombie, some just really strange movies that made no sense. I was really into shock and gore.
You throw sadness, you throw depression, you throw horror at Batman, he's like, 'Yeah, yawn, I've done that.' You throw happiness at him? That's something that riles him; that's something that he's not used to.
I appeal to you, my friends, as mothers: are you willing to enslave your children? You stare back with horror and indignation at such questions. But why, if slavery is not wrong to those upon whom it is imposed?
I wish I could fill every young man who reads these pages with an utter dread and horror of poverty. I wish I could make you so feel its shame, its constraint, its bitterness that you would make vows against it.
I'm a big fan of horror films, particularly 'Friday the 13th.' It's one of the only genres that weaves abstract experimental techniques into the mainstream; having to be spooky requires a little more creativity.
One of the best things that ever happened to me was Rocky Horror being a total flop in New York as a play. I mean, it was a disaster, and it was the night of the long knives as far as the critics were concerned.
De Niro was a hero of mine. And Sean Penn. But I've realized I can't operate at that level of intensity. That's okay for movies. On TV, when you live with horror day in and day out, you have to protect yourself.
Well, it wasn't a holiday, but I had expected to do some sightseeing when I went to Haiti to film a series called 'True Horror' for Discovery. Before I arrived, our film crew were kidnapped and held at knifepoint.
I'm from Mexico, and I've heard some horror stories about cast members who can't stand each other. What we have on 'Jane' is a blessing. We do table reads for every single episode one day before it starts to shoot.
As an actor, whatever I get the opportunity to do, if it has a good story then I'm in. I thought 'Dead End' had a great story; 'Nightmare on Elm Street,' of course, was probably the first real horror film I was in.
I don't have any illusion that The Creeper is as popular or will ever be as popular as any of the classic movie monsters, but I think in the heart of every young horror fan is his desire to create his own creature.
Journalism can never be silent: that is its greatest virtue and its greatest fault. It must speak, and speak immediately, while the echoes of wonder, the claims of triumph and the signs of horror are still in the air.
There is a sacred horror about everything grand. It is easy to admire mediocrity and hills; but whatever is too lofty, a genius as well as a mountain, an assembly as well as a masterpiece, seen too near, is appalling.
If 'Castlevania' wasn't created next to me, and Capcom didn't release 'Ghouls n' Goblins,' then maybe there wouldn't be any 'Metal Gear,' and I would have created a horror action game, because I really like that genre.
Obama has seen to the passage of the most radical legislation in recent American history and so-called 'progressives' should be thanking him for it - even as many of the rest of us rear in horror from its implications.
When I was seven or eight, I was bought a fantastic book called 'The Movie Treasury of Horror Movies' by Alan G. Frank; it became my bible. It's packed full of the most amazing photos and is still fantastic to look at.
When we forgive evil we do not excuse it, we do not tolerate it, we do not smother it. We look the evil full in the face, call it what it is, let its horror shock and stun and enrage us, and only then do we forgive it.
With 'Horror Story', it really was, 'You're going to run; you're going to jump off this cliff, and trust that that Ryan Murphy is going to catch you.' So I just ran head-on into it and jumped off the edge of that cliff.
I drew influence from Mike Leigh, Ruben Ostlund, a lot of Scandinavian filmmakers, Lukas Moodysson. I also drew influence from horror films and thrillers, which is something I would never think to do earlier in my career.
A lot of painters listen to music, I think, while they paint. But I hate to do that. It's a horror. I can't really listen to the music. I'm not really concentrating on it, and I'm not really concentrating on the painting.
You gain strength, courage, and confidence by every experience in which you really stop to look fear in the face. You are able to say to yourself, 'I lived through this horror. I can take the next thing that comes along.'
'Cabin Fever' was very much inspired by 'The Thing.' It's really a perfect guy's horror movie: There's no love story, it's just straight-up horror. And it's so well-done. It moves at a slow pace, but it's really terrific.
I have a complicated relationship with the horror genre. I love it; I loved it as a kid growing up, and I watched Chiller Theater in New York. So I loved it, but then you do feel if you do it too much, you're stuck there.
I just want to make sure that the thing that I see in it initially, that I think it can be, is not just going to be a horror film and reduced to a jump here and a scream there. But that you can take something away from it.
I'm big into Eastern concepts. The horror of life, the love of children, the whole phantasmagoria - it's all meaningless. Be still, and see what happens. All of life unfolds perfectly. You have to get beyond consciousness.
When the Second World War finished, I was 23, and already I had seen enough horror to last me a lifetime. I'd seen dreadful, dreadful things, without saying a word. So seeing horror depicted on film doesn't affect me much.
As for genre, my adult books are usually filed under science fiction / fantasy, although some stores put them into romance, and few have stuck them into horror. I consider all my books a mix of steampunk and urban fantasy.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
A friend, Sean Cunningham, who went on to do 'Friday the 13th,' was given a small budget to produce a scary movie, and he told me to write something. I'd never seen a horror film in my life; I'd fallen in love with Fellini.
I grew up loving monsters. I'm just a total monster geek. When I was a kid, I had the Aurora monster models, and I would make them. I loved the Universal horror movies and the Hammer movies. I just had an affinity for them.
Horror and the unknown or the strange are always closely connected so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or 'outsideness' without laying stress on the emotion of fear.
The latest horror to hit the U.S. looks to have been caused by people of Middle Eastern origin, bearing Muslim names. Again, shame. This fuels more hatred for a religion and a people who have nothing to do with these events.
People have expectations from you - and the whole fun of acting is taking expectations and completely upending them. That's how you get laughs in comedy, and that's how you scare the daylights out of people in a horror film.
In general, literature is a natural adversary of totalitarianism. Tyrannical governments all view literature in the same way: as their enemy. I lived for a long time in a totalitarian state, and I know firsthand that horror.
'Psycho' is probably the best known example of a horror film whose exclusive sound was strings, and since then, it's been hard to avoid that. The minute you have strings as your primary voice, the comparisons are always made.
The enslavement, humiliation, torture, and ultimate destruction of thousands upon thousands of human beings for a project for which there was ultimately no purpose is a horror that's very hard to imagine, far less understand.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
If you were a kid in the 1950s, and you got nightmares from a story in a horror comic book, you have Al Feldstein to blame. If you were a kid in the '60s or '70s, giggling at 'MAD's prankster wit, you have Feldstein to thank.