My mommy always said there were no monsters - no real ones - but there are.
We are not afraid of predators, we're transfixed by them, prone to weave stories and fables and chatter endlessly about them, because fascination creates preparedness, and preparedness, survival. In a deeply tribal way, we love our monsters.
Every monster was a man first.
I'm not afraid to play the role of Christian Grey. Because I'm not like him. But I perfectly understand him. I never thought that he was a monster. He is simply woven from desires. As every one of us.
Art, like Nature, has her monsters
I've always felt that the real horror is next door to us, that the scariest monsters are our neighbors.
Those who choose not to empathize enable real monsters, for without ever committing an act of outright evil ourselves we collude with it through our apathy.
Without monsters and gods, art cannot enact a drama.
All the best of the monsters played for sympathy. That goes for my father, Karloff, myself and all the others. They all won the audience's sympathy. The Wolf Man didn't want to do all those bad things. He was forced into them.
The first monster that an audience has to be scared of is the filmmaker. They have to feel in the presence of someone not confined by the normal rules of propriety and decency.
Suddenly I had a flash of insight: I am a monster, I realized, a monster that wants to stalk through the woods, free and alone, and cannot even bear so much as the touch of a branch on its skin.
The theme of the collection this time is MONSTER. It's not about the typical Monster you find in sci-fi and video games. The expression of the Monsters I have made has a much deeper meaning. The craziness of humanity, the fear we all have, the feeling of going beyond common sense, the absence of ordinariness, expressed by something extremely big, by something that could be ugly or beautiful. In other words, I wanted to question the established standards of beauty.
I don't want to see the zipper in the back of the monster suit. Like everybody else who goes to the movies, I want to believe the monster is real.
I did get offers from Hollywood, but they were all scripts with monsters in them. If I had done them, I would have disappeared. I would have come back to France anyway, and I would have had to start all over again and lost a lot of time.
There is no book which tells of a more infamous monster than the Old Testament, with its Jehovah of murder and cruelty and revenge, unless it be the New Testament, which arms its God with hell, and extends his outrages throughout all eternity!
I'm telling you, monsters aren't born, they're made.
American writers often say they find it difficult to write Superman. They say he's too powerful; you can't give him problems. But Superman is a metaphor. For me, Superman has the same problems we do, but on a Paul Bunyan scale. If Superman walks the dog, he walks it around the asteroid belt because it can fly in space. When Superman's relatives visit, they come from the 31st century and bring some hellish monster conqueror from the future. But it's still a story about your relatives visiting.
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.
My plan was to never get married. I was going to be an art monster instead.
Theres nothing to fear but fears themselves, such as monsters, rejection, food poisoning, redundancy, monsters, and oxford commas.
And we've read scary books and watched scary movies and TV shows together. He's met monsters, ghouls, and demons on the page and on the screen. There's nothing like watching Anaconda with your best friend or lying in bed next to your mother reading Roald Dahl, because that way you get to explore dark stuff safely. You get to laugh with it, to step out on the vampire's dance floor and take him for a spin, and then step back into your life. When you make friends with fear, it can't rule you.
Walter Duranty helped to turn the monster Stalin into a world figure and a hero of the leftistWestern intelligentsia by defending the bloodbath of the Soviet Union from its critics in the now famous: "You can't make an omelette without breaking eggs.
But come back in November or December, in February or March, when the fog, la nebbia, settles upon the city like a marvelous monster, and you will have little trouble believing that things can appear and disappear in this labyrinthine city, or that time here could easily slip in its sprockets and take you, willingly or unwillingly, back.
Yes, yes, I'm coming. Right up the top of the house. One moment I'll linger. How the mud goes round in the mind-what a swirl these monsters leave, the waters rocking, the weeds waving and green here, black there, striking to the sand, till by degrees the atoms reassemble, the deposit sifts itself, and a gain through the eyes one sees clear and still, and there comes to the lips some prayer for the departed, some obsequy for the souls of those one nods to, the one never meets again.
When we hold it (amber) in our hands, we hold also that furious epoch where rioted all monsters and poisons, where death fecundated and life destroyed, where superabundance demanded such existences, no souls, but fiercest animal fire - just for that I hate it!
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