Quotes of All Topics . Occasions . Authors
"I don't know how to say it exactly. Only... I want to die as myself. Does that make any sense?" he asks. I shake my head. How could he die as anyone but himself. "I don't want them to change me in there. Turn me into some kind of monster that I'm not."
I grew up watching Pixar movies. And my favourite - if you don't count 'The Good Dinosaur' - is the first Pixar movie my older brother showed me. That would be 'Monsters, Inc.' I also like Disney - 'The Lion King' is probably my all-time favourite movie.
People know me because I play the monsters, but I'm most recognized from the small roles in which they see my face. None of that stuff really bothers me. Whether I'm recognized in or out of a costume isn't a kind of pressure I put myself through anymore.
Hedwig is on a quest; she's on a quest as much as Jason and the Argonauts, as much as the boy in 'A.I.' She's looking for something. She's looking for her other half, and she's on tour. Monsters, Cyclops - maybe they're her mom? - appear on various islands.
Mike Mignola's 'Hellboy' was influenced by Lovecraft big time. He wanted to make his monsters Lovecraftian. But I think many other films have been influenced by Lovecraft - like 'Alien,' which is almost an outer-space version of 'At The Mountains Of Madness.'
It was always that detail that drove me. Ever since I was a little kid, I used to get into the nitty gritty... when I was drawing army tanks or monsters, I'd do every nut and rivet, and I'd do every scale on the dragon's back. It was just the way I was built.
We actually say in 'Nightbreed,' 'God is an astronaut, Oz is over the rainbow, and Midian is where the monsters go.' There's a lovely sense in which there's a simple thesis being played out here. These are things you understand as a child out on the play yard.
The logical outcome of evolution is that it makes monsters. We turn into monsters because evolution takes away everything that makes us human in the sense of our moral accountability, our moral absolutes, and our idea of being distinct from the animal kingdom.
Not everyone can be bribed with meat, Oberon." "They Can't? Oh! you mean they're vegetarian." "No, they eat meat. It just doesn't sway their decision making process." "Well that... that's just wrong, Atticus!Are they Monsters? It's like they have no moral center!
Something caught in her throat at this second thanks, when she'd threatened him so brutally. When you're a monster, she thought, you are thanked and praised for not behaving like a monster. She would like to restrain from cruelty and receive no admiration for it.
I’m a monster,” said the shadow of the Marquess suddenly. “Everyone says so.” The Minotaur glanced up at her. “So are we all, dear,” said the Minotaur kindly. “The thing to decide is what kind of monster to be. The kind who builds towns or the kind who breaks them.
My plan was to never get married. I was going to be an art monster instead. Women almost never become art monsters because art monsters only concern themselves with art, never mundane things. Nabokov didn't even fold his own umbrella. Vera licked his stamps for him.
The world reacts very strangely to people they see on TV, and I can begin to understand how anchor monsters are made. If you're not careful, you can become used to being treated as though you're special and begin to expect it. For a reporter, that's the kiss of death.
Things like engine technology used to be hugely restrictive. You couldn't have more than one baddie on screen, you couldn't have more than three arrows firing at once. Now, you can say, 'I want 20 monsters, and 30 weapons,' and there isn't a technical string attached.
I just don't think CGI is up to manipulating the human face yet. I feel like you can get away with it with aliens or monsters or something that's intentionally foreign, but I have yet to see anything digital to do with the human face that doesn't just look ridiculous.
I have found it an amusing strategy, when asked whether I am an atheist, to point out that the questioner is also an atheist when considering Zeus, Apollo, Amon Ra, Mithras, Baal, Thor, Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one god further.
Zombies, vampires, Frankenstein's monster, robots, Wolfman - all of this stuff was really popular in the '50s. Robots are the only one of those make-believe monsters that have become real. They are really in our lives in a meaningful way. That's pretty fascinating to me.
Powerful people are always in charge. You have to acknowledge that and deal with it as a reality. They're not devils. They're not monsters. They're human beings, like us, that have their share of insecurities and fears. You have to contemplate that as you go through life.
Premie' re approximation: j'e cris pour de truire, en les de crivant avec pre cision, des monstres nocturnes qui menacent d'envahir ma vie e veille e. First general point: I write to destroy, by describing exactly the nocturnal monsters that threaten to invade my waking life.
I don't understand why, to rise to the level of being president of my country, one has to be a monster. I used to say that George Bush was defiling the Oval Office, but it's been held by a long line of monsters. We don't have to support our administrations to love our country.
I've been reading Greek mythology since I was a kid. I also taught it when I was a sixth grade teacher, so I knew a lot of mythological monsters already. Sometimes I still use books and Web sites to research, though. Every time I research Greek mythology, I learn something new!
Yeah, right," Minho said. "And Frypan's gonna start having little babies, Winston'll get rid of his monster acne, and Thomas here'll actually smile for once." Thomas turned to Minho and exaggerated a fake smile. "There, you happy?" "Dude," he responded. "You are one ugly shank.
I have an idea for a Godzilla movie that I've always wanted to do. The whole idea of Godzilla's role in Tokyo, where he's always battling these other monsters, saving humanity time and again - wouldn't Godzilla become God? It would be called 'Living Under the Rule of Godzilla.'
I've always loved Mary Shelley's Frankenstein. There's this wonderful chapter in which we get a first-person account of the monster's first impressions of the world, being in the woods and taking things in. We're seeing the world as if for the first time. That's just fascinating.
I don't try to sanction other people's joy in monsters. I mean, I think the fact is, humor, fantasy - you know, like fear, desire or laughter - create genres of their own: comedy, melodrama, or erotic films or horror films... The boundaries cannot be defined. It's to each his own.
And maybe I am a monster. I don't know the answer to that. But what I do know is that even if there's demon blood inside me, there is human blood inside me as well. And I couldn't love you like I do if I weren't at least a little bit human. Because demons want. But they don't love.
I know what it means to do a job... I worked in a factory. I respect people in the service industry. What irritates me more is when people aren't respectful. There's a lot of nonsense behavior, especially in a place like Hollywood. The money, the power, they create little monsters.
Ive never been a big believer in ghosts or the spirit world, and for me, that was part of the point of the movie, ... What the Ghostbusters represented was the triumph of human courage and human ingenuity. People create their own monsters. Our fears come from within us, not outside.
It rasped her, though, to have stirring about in her this brutal monster! to hear twigs cracking and feel hooves planted down in the depths of that leaf-encumbered forest, the soul; never to be content quite, or quite secure, for at any moment the brute would be stirring, this hatred.
NI love watching science fiction because I feel like when it's done well, it's not just monsters, but philosophy. Really good science fiction like, '2001,' for example, or the first 'Matrix.' But it takes someone who's got a brain and thinks in order to do really good science fiction.
She wanted to have him hold her and tell her all the demons were pretend, that there was no monster in her closet, that everything would be okay. But that was a lie. The demon was in her head, telling her she was too fat. She had to get the demon out. But she couldn't do it by herself.
I took the test for AIDS. I began to hate people who were not sick. Those people are monsters, I would think, believing that they are well because of moral superiority, because they are good. I identified with the loneliness of the sick. I felt that there was something pure about them.
Applause is interesting, but I'm a monster with or without it. Something is either well written or it isn't. 'White Rabbit' is not well written, and no amount of applause or royalties can convince me it is. I could have done a better job with those lyrics. They didn't say what I wanted.
The staging for 'Monsters' is all about me getting free. In the beginning I'm like tied, in a dark place... until I am scared no more, and I'm taking the lead of my life, I'm being the queen of my life, I'm ruling the world! In the end I'm taking a risk, but I'm taking the leap of faith.
Kids go crazy for the Krampus tradition and dress up as little monsters - they have beautiful masks, handmade from wood. Our village in Austria puts on a special play in which the creature tells an old beggar to repent his sins; when he refuses, he's beaten up by lots of Krampuses at once.
There's a variety and depth to the song topics I get to write about in children's music and books: being able to write about things I wouldn't normally write about, like a disappointing pancake, or monsters or opposite day is really different than writing about heartbreak and relationships.
Fictional realms are usually terrible places to vacation, as they tend to be full of monsters and conflicts - Narnia and Middle-earth would both be good places to get killed - but I wouldn't mind visiting the worlds of Iain M. Banks's 'Culture.' You'd just have a hard time getting me to leave.
Monsters are a departure from 'reality' in a way that allows for a range of fantastic possibilities. I mean this within the world of literature as well as in regards to art. When I sit down to draw, I'm energized by the possibility of creating a monster. That is where I find beauty and pathos.
Once you start putting in political subtext, it does create intellectually challenging science-fiction, but with 'Pacific Rim,' I always thought it would be a shame if kids couldn't go see this movie about giant robots fighting giant monsters because it seemed to have a political point of view.
I felt different from everyone else - like an alien. The looks I received when I was 320 pounds were ones usually reserved for three-eyed monsters, half-man half-woman reptiles, creatures with hideous rolls of skin that sweated profusely and jiggled when they walked. That last one really was me.
When horror turns into gore, when you show the monster, the killings, and the blood, it loses its suggestive powers. It loses part of what makes a horror film a horror film, which is that the images you see develop in your brain and you become the one imagining what you are not seeing on screen.
My plan for the online version of 'Famous Monsters' is to become an online 'uncle' to an entire group of people who have never read or heard of 'Famous Monsters of Filmland.' The site will not be written in a scholarly fashion. It will be written in a playful, 'Hey, check this out!' kind of way.
Even in reality shows, how they look at black women like they're the monsters - snatching wigs, and weaves and wigs, weaves and wigs, basically, and throwing water and stuff. That's how people see us often, as we are the enemies of things. I wanted to change that because that's not a good example.
Politicians usually get the blame for dragging their feet on environmental issues. And fair enough. Most of them do just that. But the blame isn't theirs alone. For politicians afraid of losing votes, a bristling media waiting to transform good green ideas into monsters is a colossal disincentive.
There's a ton of stuff in mythology and folklore that is loaded with wonderful creatures that I haven't drawn yet, but that's kind of my retirement plan. Theoretically, I won't be doing comics any longer, and I'll just be drawing and painting whatever the hell I want. Most of that will be monsters.
A game like 'Myst' may be a gorgeous slide show that preserves its beauty at the expense of speed. A game like 'Doom' sacrifices almost everything for action. But the eye soon adjusts: the degree of detail more than adequately conveys infinite claustrophobic labyrinths populated by howling monsters.
The unconscious is not a demoniacal monster, but a natural entity which, as far as moral sense, aesthetic taste, and intellectual judgment go, is completely neutral.It only becomes dangerous when our conscious attitude to it is hopelessly wrong. To the degree that we repress it, its danger increases.
So, I'm on 'Sesame Street,' walking around with all these monsters, Elmo and his buddies, a whole bunch of chickens, a whole bunch of penguins and a number four dancing about. It was just pure joy, simple, ridiculous fun, stupid joy. There's no irony. 'Sesame Street' is just a crazy great place to be.
The format's limitations are its strengths. We can't show you the monster, but why would we want to? Your imagination is a darker and scarier place than anything that can get generated on a computer. Asking the audience to use their imaginations makes it a much more personal and interactive experience.
If we take the freedom to put a friend under our microscope, we thereby insulate him from many of his true relations, magnify his peculiarities, inevitably tear him into parts, and, of course, patch him very clumsily together again. What wonder, then, should we be frightened by the aspect of a monster.