At the time I came along, Hollywoods idea of teen movies meant there had to be a lot of nudity, usually involving boys in pursuit of sex, and pretty gross overall. Either that or a horror movie. And the last thing Hollywood wanted in their teen movies was teenagers!
The bigger the issue, the smaller you write. Remember that. You don't write about the horrors of war. No. You write about a kid's burnt socks lying on the road. You pick the smallest manageable part of the big thing, and you work off the resonance.
One could make money and get a career going with a low-budget horror film about killers attacking on holidays. It is always flattering to have somebody copy you.
I never got in this business, in cinema, to make horror movies. They arrived on my doorstep and I got typecast. Which was fine, I enjoy it, but I got into this business to make westerns. And the kind of westerns I used to see, they died. So that didn't work out.
I stopped directing in 2001 for - oh, damn - four or five years, until I did the TV series 'Masters Of Horror.' I had been working steadily as a director since 1970. That's a long time. I was burned out.
I don't read horror, ever. When I was 15, I made the mistake of reading part of 'The Exorcist.' It was the first and last horror book I've ever opened.
The sordid qualities imputed to the enemy are always those which we recognize as our own and therefore rise to slay, because only through projection do we realize the enormity and horror of them.
Horror is always the same. It changes with the culture and changes with technology. The stories are always the same. There are just two basic stories in horror, two simple ones -- evil is outside and evil is in here [points to his heart].
Marx was wrong. Religion is not the opiate of the people. Opium suggests something soporific, numbing, dulling. Too often religion has been an aphrodisiac for horror, a Benzedrine for bestiality. At its best it has lifted spirits and raised spires. At its worst it has turned entire civilizations into cemeteries.
Let us therefore reject all superstition in order to become more human; but in speaking against fanaticism, let us not imitate the fanatics: they are sick men in delirium who want to chastise their doctors. Let us assuage their ills, and never embitter them, and let us pour drop by drop into their souls the divine balm of toleration, which they would reject with horror if it were offered to them all at once.
And what is the religion of many persons but a kind of demonism that delights in human sacrifices and causes them to look with horror on the greatest part of mankind? Plutarch, it is well known, has observed very justly that it is better not to believe in a god than to believe him to be a capricious and malevolent being.
Horror stories have always worked on film. It's where they work. That's where vampires and ghosts and UFOs are real. They're not particularly real in life, but they're real on the screen. It's the communal aspect of movie-watching.
Horror has been a genre since the beginning of cinema, all the way back to the days of silent films. I don't think it will ever go away because it's so universal. Humor doesn't always travel to other countries, but horror does.
Horror found me. I got into the movie business to make westerns.
It [horror genre] never dies. It just keeps getting reinvented and it always will. Horror is a universal language; we're all afraid. We're born afraid, we're all afraid of things: death, disfigurement, loss of a loved one. Everything that I'm afraid of, you're afraid of and vice versa. So everybody feels fear and suspense.
The first movie I ever saw was a horror movie. It was Bambi. When that little deer gets caught in a forest fire, I was terrified, but I was also exhilarated.
I thought it was great fun to scare people. I also knew it was socially acceptable because there were a lot of horror movies out there.
Forget horror icon, Kety Bates is an icon. She's an acting icon. I was raised on so many of her films, everything from Misery to Fried Green Tomatoes to Delores Claiborne, all films that I've watched multiple times and been inspired by.
You have to remember, that insane people can do some horrors themselves. I had committed no crime, though. I hadn't shot anybody. Yet.
I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.
It's just occurred to me that some horror films everybody laughs because they're so ridiculous and they're so frightening in a way, the filmmakers' are trying everything, that they just end up being funny.
With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.
I love horror films, but it's more than an adrenaline rush for me. I love them because I know they scare me. It's kind of like I go on roller coasters, but I'm terrified of roller coasters, sort of thing.
I was always an actress, even as a little kid, and fantasy, horror, sci-fi stories are really all about playing make believe. I just never grew out of that.
After having, I think, rather successfully mined the horror-comedy aspects of this concept over the course of Bride of Chucky and Seed of Chucky, the fans are really telling us that they want it to be scary again. Doing the remake just provides us with a really good opportunity to bring it home, so to speak.
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