I'm not a horror movie guy, but I think the guy that did Saw, or maybe House or something, he was saying you love that age as a storyteller because a nineteen-year-old is still dumb enough to make really bad decisions, but he's allowed to be out on his own.
My god, people are selling their work and people are reading it! The horror! That MFA programs have to advertise that they'll let you write YA or fantasy or what-have-you is just absurd, but we do, because the presumption is that they're closed to that sort of thing. You're offering an MFA in creative writing? Teach people how to write well, worry about that part, let the writers come up with the stories.
I love horror movies. I consider myself a horror author, sometimes.
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 have a hard time with extreme imagery. Like I can't watch horror movies or anything like that.
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.
Philip Jones Griffith documented the Vietnam War, and through his images that were published in Time Life Magazine, it showed me the horrors of war and at that time, I wanted to be a war photographer, based off his work.
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.
Obviously loss of family is huge and critical, but I think really it's more about losing a sense of family. The horror of that kind of incompleteness. Writing this book, I tried not to think about my father, which does no one any good fictionally. I did try to imagine not just the horror of that moment, but the horror of having witnessed it, and the lifelong void. And I think that's what's so frightening.
There's no doubt that there's a struggling in birth, and a beauty and a horror and fear and joy too.
I would love a little bit of a change. I feel so fortunate to have been able to work so much, particularly in the horror-thriller genre, but I would love to be able to do something perhaps a little more dramatic or even a romantic comedy.
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.
I love horror movies, but it's not the only thing I want to do.
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.
The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.
I think accessibility is what often denies horror its deserved attention. So it all depends on the execution and whether mainstream audiences can accept it.
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.
Alien is one of my favourite films. I'm a classic horror fan. It's a tough one for me, because I get scared quite easily.
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