I think that's the real horror story for me, how little you can ever really know about your own motivations. How in the dark we all are about the concerns and the contents of our minds.
Horror is so basic. You'd get an adrenaline jolt from watching your mom get gored by a woolly mammoth. A horror movie gives you the adrenaline without having to have your mom get gored.
I've always wanted to do a horror movie, and I grew up watching a lot of horror. I now, recently in life, don't have the stomach for it because I spend so much time in it.
My personal beliefs were shaped more by experience and by watching the news when I was young: images of angelic-looking college students in Mississippi crying like the world was ending because black people were being allowed on their campus; the slow mounting horror of Vietnam on the evening news every night; sitting with my parents in front of the TV and being appalled at the way the Chicago police were treating the protesters during the '68 Democratic convention. Being eyed with suspicion because of my age and the way I wore my hair.
I think what it was with the war photography was the concerned eye, the desire to document these situations to show the world the horrors of war. It inspired me to document prostitution; inspired me to document homelessness in America. We are the richest country in the world, yet we have people suffering, so it helped me to look at things in that manner.
As a male, I thought the female voice was so strong, unique, real and accessible to most females. In some way, shape or form, they felt like they could relate to it, on some level, because they went through some form of unspeakable horror like what Kilgrave did to Jessica [Jones]. That, in itself, is something that most people shy away from, even in shows that are on cable or in movies.
Horror films had died a little bit before Scream came around. That was one of the reasons I wrote it. I wanted to write something that wasn't being made right now and maybe sell if I come up with a new horror film. Because no one is watching those movies. Let's do it. That was my whole goal, and it paid off. I feel like it's never stopped.
I'm a huge fan of horror. I can't handle all the blood and gore, but that's what The Following was meant to be. It was meant to be a genre show, a little movie, a little scary genre film every week. That was our goal. That's what Kevin Bacon and I wanted to do.
I had the nightmare when I was like nine or ten or something, I always remembered pieces of that nightmare, the feeling from it. I've always wanted to make a horror film and so I always kept thinking about that nightmare.
When people would ask me what I was doing, I'd be like, 'It's a horror film.' 'What is it about?' 'You'll just have to see it.' I really didn't want to explain it because it's really tough to explain without it just sounding really ridiculous.
In one way, it is this sense of order and also love that, I think, really saved Eleanor Roosevelt's life. And in her own writing, she's very warm about her grandmother, even though, if you look at contemporary accounts, they're accounts of horror at the Dickensian scene that Tivoli represents: bleak and drear and dark and unhappy. But Eleanor Roosevelt in her own writings is not very unhappy about Tivoli.
In junior high I read a lot of Stephen King, whose Americana approach to writing was often about "the terror next door" and at the same time I was reading a lot of Clive Barker, who was on the other end of the horror pendulum: insidious and disturbingly psychological. I found it fascinating how these two authors came at horror from two totally different perspectives.
Although I love all genres, I really love to play in two main arenas: Comedy and Thriller/Horror. In either genre I love playing flawed, layered characters that are actively fighting to achieve something in the story.
After having edited numerous shorts, earning award nominations for it, and then 4 features edits, the director inside me is now burning to share its voice. Thriller, Horror, zany Comedy.
My actress friends would tell me their horror stories, or say they couldn't get work, and were deemed too old, even though they were established and talented and fit and gorgeous. It was frustrating for them and it was frustrating to hear. Maybe because I was the same age as them and it was already hard enough trying to cross over to the 40s without someone judging your every move.
There's a lot of laughing on a horror movie set. They're magical in that way.
I received a wonderful email after I spoke at a school from a girl who'd lived in a war zone and endured horrors no human being should suffer, let alone a child. This young lady was fortunate to be bought to Britain and seemed to adjust well, but suddenly found herself falling off the rails and sliding into hell when I chatted to her. In her letter, she told me the difference that I'd made. She's now 20 years old and a fashion designer employing staff and she puts her work ethic down purely to talking to me. It's my most treasured letter.
People get so upset about lyrics, and they're probably totally cool with horror movies. That doesn't really make sense.
I had Paterson, and The Art Lover, to guide me for The Tales of Horror (written from 1988-'97 and published in 1999), but I still was so lost, back then, as I tried to understand what I was writing and how it went together. There was a draft of that manuscript that had all these brightly colored paper clips on the pages so I could visualize what I saw as the book's themes and threads - that was a long time ago.
I mean science was blamed for all the horrors of World War I, just as it's blamed today for nuclear weapons and quite rightly.
I do love science-fiction and horror movies.
The fear of loss is an engine of horrors, but also a source of the greatest forms of heroism. There's not a lot of art that puts that in bold letters. It's psychologically very interesting and acute, I think. That's not the central reading, I think, of the New Testament.
I am a fan of the true crime and horror genres! So, I've got a dark side too.
The first person I ever described the film [The Neon Demon] to was Christina Hendricks [who has a cameo in the movie]. We were having dinner in LA and she asked me what I wanted to do next and I said, "I want to do a horror movie." And she goes, "What's it going to be about?" And I said, "A lot of blood and high heels."
China is one of the greatest cultures on Earth, and it is one of those countries that suffered immensely from colonialist horrors and humiliation.
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