Quotes About Horror

O horror! Horror! Horror! Tongue nor heart Cannot conceive nor name thee!

Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.

When I was a kid I was really into horror films. I watched every single horror film that came out in the 80s.

Only comedies can get you that engaged in a movie, dramas people just sort of sit there and eat their popcorn and nothing really happens, they might cry a little bit, but that's it. Horror movies are talking at the screen, guys are elbowing each other, laughing at each other because they got scared. That's the beauty of a horror movie.

The action movie, the thriller and the drama all have safety nets under them. But not the horror film. The horror film can sink to an abyss far darker than the imagination can ever reach.

Horror movies in a sense are about the things that you cannot control, cannot define and the things that you are afraid of, and that is what the boogey man is. The boogey man doesn't have a backstory, he is just the thing you fear and I think it is important to celebrate that aspect of horror.

Horror is a reaction; it's not a genre. Somebody's life would have to be in danger for it [story] to be a horror story.

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.

Anyone who says that life matters less to an animal than it does to us has not held in his hands an animal fighting for its life. The whole of the being of the animal is thrown into that fight, without reserve. When you say that the fight lacks a dimension of intellectual or imaginative horror, I agree. It is not the mode of being animals to have an intellectual horror: their whole being is in the living flesh...I urge you to walk, flank to flank, beside the beast that is prodded down the chute to his executioner.

Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.

Don't you see, if when we die there's nothing, all your sun and fields and what not are all, ah, horror? It's just an ocean of horror.

Release the demon under promise that I'd be repaid handsomely, my enemies destroyed? Hmm, where had I seen this before? Oh, right. Every demon horror movie ever made. And the horror part started right after the releasing part.

I like horror movies. Nightmare on Elm Street is my favourite. I even get scared a little bit watching horror.

Horror is a totally different animal. It's intense. You can do drama or comedies, but in horror, you really have to trick yourself into believing a lot of unbelievable phenomena.

Although I've said a million times that I'm not a horror writer, I do like horror.

The cool thing about making a Western is that people want to be in them. You rarely get the opportunity. With horror movies you are always trying to convince them. People in horror are always worried it's going to be this schlocky thing, and you're always trying to convince them that it's not. With Westerns, people immediately react with, "Oh, I've always wanted to do one."

I also wonder why is it that so many of the movies and books that are detective stories are also the most aesthetically interesting? From Hollywood noirs to horror movies like The Shining [1980].

His [Ben Okri's] work poses very serious questions for the twenty-first century. Among them: To what extent will we allow the indefinable dynamics of something called "destiny" to maintain grief and horror in the world? How hard are human beings willing to fight to achieve and sustain justice, equanimity, or joy? And should progress be called such when it devours what is best within the human spirit?

The reason that I like SF and fantasy and horror is that to me it's the pulp wing of surrealism. That's the aesthetic of undermining and creative alienation that I really go for.

I am horror fan in that I think that they are very effective on me. I get scared very easily. I am a scaredy cat. When I was younger, my mom used to rent Alfred Hitchock films, so I saw a couple of those and I was terrified by them.

My parents were dismayed by my love of horror movies as a young girl, then even more dismayed when I kept rooting for Dracula to win instead of Van Helsing.

I love horror movies, but it's not the only thing I want to do.

The idea of bringing someone into the world fills me with horror. I would curse myself if I were a father. A son of mine! Oh no, no, no! May my entire flesh perish and may I transmit to no one the aggravations and the disgrace of existence.

Tantra is the perception of the oneness and the perfection of all things. Not just the perception of light, but the perception of darkness, seeing God in both beauty and horror.

I looked back at some of my earlier published stories with genuine horror and remorse. I got thinking, How many extant copies might there be, who owns them, and do they keep their doors locked?

Born to an age where horror has become commonplace, where tragedy has, by its monotonous repetition, become a parody of sorrow, we need to fence off a few parks where humans try to be fair, where skill has some hope of reward, where absurdity has a harder time than usual getting a ticket.

Executing a murderer is the only way to adequately express our horror at the taking of an innocent life. Nothing else suffices. To equate the lives of killers with those of victims is the worst kind of moral equivalency. If capital punishment is state murder, then imprisonment is state kidnapping and restitution is state theft.

I have a lot of stories. I had done a thing called Nightmare in Red White and Blue, which was an anthology of horror films. I narrated it with a man named Joe Maddrey, who's a writer. He came to my house and said, "Lance would you consider doing this?," and I like Joe so much that I completely relaxed.

I've always said that with a lot of the horror franchises that I've started, it's like directing a pilot. I come in, I direct the first movie and all these directors come in and direct all the sequels after me and hey have to kind of retain the look, the tone, and the characters.

I was lucky enough to have a plethora of types of roles before and during the horror movie part of my career.

When I write my novels, I'm not writing them to make political points. I'm writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism, and what I want to do is communicate that. But, because I come at this with a political perspective, the world that I'm creating is embedded with many of the concerns that I have. But I never let them get in the way of the monsters.

I have a horror of sentimentality, and I cannot forget that its name is Saint-Saëns.

I think of horror films as art, as films of confrontation.

[Albert Camus]didn't have much hope that things would work out, but he wanted them to. Algeria had reached such a degree of violence that once such violence is created there's no more room for reflection. And there's no mediating position. If you look at Bosnia today, the Croats, Bosnians and Serbs, they've all created so much horror that one starts to wonder how these peoples can live together, after having done what they have. Already the violence has reached such a degree that everybody is living in hate, there's no possibility of reflection, no mediating position.

I love the idea of comedy in horror. I think this should be allowed.

I've always thought the best way to teach a kid not to be scared of the dark is to fill his daylight hours with as much horror as possible.

Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.

I love horror, I love scary movies, I love thrillers. If things creep you out and spook you? I love it.

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.

Horror is beyond the reach of psychology.

What a great unifier getting scared is. Not in an actual threatening, real-world way, but getting scared from horror movies or haunted houses or ghost stories. You laugh because it's a release. People laugh when they're nervous. I laugh so much at a haunted house. It's out of fear, but it's also a wonderful release. Getting scared like that, you feel good, and you feel exhilarated afterwards.

There is a sweet little horror story that is only two sentences long: The last man on Earth sat alone in a room. There was a knock at the door... Two sentences and an ellipsis of three dots.

People want to be disturbed when they go see a horror movie.

My knowledge of horror films is pathetic because I can't really watch them.

I seem to remember telling you both that I would have to expel you if you broke any more school rules,” said Dumbledore. Ron opened his mouth in horror. “Which goes to show that the best of us must sometimes eat our words,” Dumbledore went on, smiling.

While vegans and meat-eaters disagree, we can all be united in our fear and hatred for the horror that is factory farming.

Horror is a feeling that cannot last long; human nature is incapable of supporting it. Sadness, whether it be from bereavement, or disappointment, or misfortune of any kind may linger on through life

And I guess I'm a kid at heart in that when I go for entertainment, I want to be totally transported. I want to go somewhere else; I want to encounter different things, different beings, different universes. And so I love that aspect of being able to play those things in both 'True Blood' and in 'American Horror Story.'