Quotes About Horror

Murder is a horror, but an often necessary horror, never criminal, which it is essential to tolerate in a republican State. Is it or is it not a crime? If it is not, why make laws for its punishment? And if it is, by what barbarous logic do you, to punish it, duplicate it by another crime?

I think horror comedies tend to skew more comedy than horror, for the most part.

In our dreams (writes Coleridge) images represent the sensations we think they cause; we do not feel horror because we are threatened by a sphinx; we dream of a sphinx in order to explain the horror we feel.

People don't like to say Horror so they say Dark Fantasy because that's Horror wearing a collar and tie.

Weirdly, I'm not a horror fan, but those kind of horror leanings are something that are very easy for me to get into.

Oh, filmmakers, please don't take my soft book and turn it into a horror, or take my horror and make it soft.

As a filmmaker, I love the medium. I have a great affection for it and I've been lucky enough to do all different kinds of films. The greatest part of the success I've had comes from horror. I love the idea of mixing humor and horror and to me, it's all a giggle.

I feel like most horror films are made for teenagers about teenagers. I've done a couple of those horror films. There's nothing wrong with that but the older I get the more I starve for more adult material.

I am tired of reading reviews that call A Good Man brutal and sarcastic. The stories are hard but they are hard because there is nothing harder or less sentimental than Christian realism.... when I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror.

People ask me, 'Is 3D a good medium for horror movies?' I think it's the perfect thing for horror movies because it really puts you into it.

I don't believe in evil; I believe only in horror. In nature there is no evil, only an abundance of horror: the plagues and the blights and the ants and the maggots.

If one horror film hits, everyone says, 'Let's go make a horror film.' It's the genre that never dies.

When a man sees a dying animal, horror comes over him: that which he himself is, his essence, is obviously being annihilated before his eyes--is ceasing to be. But when the dying one is a person, and a beloved person, then, besides a sense of horror at the annihilation of life, there is a feeling of severance and a spiritual wound which, like a physical wound, sometimes kills and sometimes heals, but always hurts and fears any external, irritating touch.

People would always say horror movies always thrive during times of war; that's just what people would say. And I don't know if they thrived during World War II or Vietnam, but I thought that's kind of strange, why would that happen. I don't know if people rearrange their priorities; in good times, they freak out and start pointing the fingers at video games and TV, but when horrible things are happening in the world, a horror movie just seems a little ridiculous.

With horror movies, a bigger budget is actually your enemy. You want to feel the rough edges, the handmade quality to good horror films. Its a genre that benefits from not having everything at your disposal.

Horror would not annoy a soldier any more than the sight of a hammer annoys a carpenter. It is sentimental to pretend that horror is not the tool of the soldier, just as the hammer is the tool of the carpenter. We live off death and the threat of death and we must take it calmly and use it well.... Eventually I came to enjoy killing, as a pianist enjoys the Czerny which keeps his fingers limber for the Beethoven.

I never actually wanted to write horror, oddly enough. It was a kind of misnomer, because I didn't ever actually write horror in the sense of the genre known for it. It was more a type of pigeon-holing in bookshops.

A lot of the main audience thinks video game-based movies are always horror movies but it's totally not true. In video games you have adventure, sci-fi, horror, action and even comedy. I think that people should accept more that video games are kind of like the best-selling books of the new generation.

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

The horror of our history has purged me of opinions.

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].

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

Hop in? Dude, are you out of your ever-loving mind? I can’t touch this. I might leave a fingerprint or something. (Nick) Oh the horror. Guess I’ll have to trade the piece of junk in and get a new one if that happens. (Acheron)

I remember listening to Miles Davis in the car with my dad. I had just done my Grade 5 piano exam, and I was quite cocky. I said, 'It sounds like he's played the wrong note there.' I remember the look of horror on my dad's face, and thinking, 'Wow, I have to figure out why that is not acceptable.'

Good evening, Lord Corwin,' said the lean, cadaverous figure who rested against a storage rack, smoking his pipe, grinning around it. Good evening, Roger. How are things in the nether world?' A rat, a bat, a spider. Nothing much else astir. Peaceful.' You enjoy this duty?' He nodded. I am writing a philosophical romance shot through with elements of horror and morbidity. I work on those parts down here.

My imagination completely controls me, and forever feeds the fire that burns with dark red light in my heart by bringing me the best dreams. I've always had a wild imagination, a big heart and a tortured soul so I feel that dark fantasy, love and horror are in my blood.

The point of departure for my creation was not primarily the destiny of the sixteen Carmelites of Compiègne but the figure of the young Blanche. In a historic sense she never lived, but she received the breath of life from my internal spirit, and she cannot be detached from the origin, which is hers. Born in the profound horror of a time darkened by the signs of destiny, this figure arose before me in some way as the embodiment of the mortal agony of an era going totally to its ruin.

I'm not really a horror movie fan.

...and horror of horrors, he realized that he was experiencing some sort of a crush. He needed to kill something.

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.

Our healthcare is a horror show.

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

Hell is out of fashion - institutional hells at any rate. The populated infernos of the 20th century are more private affairs, the gaps between the bars are the sutures of one's own skull. A valid hell is one from which there is a possibility of redemption, even if this is never achieved, the dungeons of an architecture of grace whose spires point to some kind of heaven. The institutional hells of the present century are reached with one-way tickets, marked Nagasaki and Buchenwald, worlds of terminal horror even more final than the grave.

When the entire world is built on death and horror, when existence is a constant state of panic, it's hard to get worked up about any one thing. Specific fears have become irrelevant. We've replace them with a smothering blanket far worse.

Christian morality (so called) has all the characters of a reaction.... In its horror of sensuality, it made an idol of asceticism, which has been gradually compromised away into one of legality. It holds out the hope of heaven and the threat of hell, as the appointed and appropriate motives to a virtuous life - in this falling far below the best of the ancients, and doing what lies in it to give to human morality an essentially selfish character.... It is essentially a doctrine of passive obedience; it inculcates submission to all authorities found established.

Horror films are art, it's all make believe. It's great if a filmmaker can try to push boundaries and see how much an audience can take and see what happens. It's fun to be able to do that.

I was shooting Beyond Redemption, I started shooting American Horror Story, so I was going back and forth between Northern California and LA. That was not bad at all - that flight is like getting on the subway, it's nothing. And then during rehearsals.

His (Lloyd Kaufman) string of low-budget, lowbrow horror comedies stretching back to the ’80s has been cited as influence by Peter Jackson, the Farrelly Brothers, Quentin Tarantino, Takashi Miike, and Guillermo Del Toro, just to cite a few prominent examples.

Journalism can never be silent: that is its greatest virtue and its greatest fault. It must speak, and speak immediately, while the echoes of wonder, the claims of triumph and the signs of horror are still in the air.

I do one accent - my own. I can make it louder or quieter. That is the sum total of my vocal range. I thought I could do an American accent until I tried it in front of an American - the expression of horror is still burnt onto my retinas.

What I love about watching classic horror films is that they take you on a ride and they obviously make you scared because you're so invested in the characters, you're almost forgetting that oh my God, this is about to scare me.

I can only imagine the quiet horror that people must endure when they meet me in person.

Carrie was a terrific piece of work. At the end of the movie comes, when Amy Irving kneels down to put the flowers on Carrie's grave, a hand comes up through the grave and seizes her by the arm. The audience went to the roof, totally to the roof. It was just the most amazing reaction. And I thought, 'We have a monster hit on our hands. Brian De Palma has done something new. He's actually created a shock ending that shocks an audience that was ready for a horror film.' And there were several people who did it after that.

Narrative is so important for building the sexual tension. Can you imagine a horror movie that only shows the blood, with no context? I think women need to get to know the characters before they start stripping.

And I'm auditioning right now for a movie, and then I have a script that I'm reading right now for a horror film, and I'm meeting for a couple of television shows that I just had yesterday, and pretty much was offered one of them.

There are a lot of people in the field [ of horror stories] that I do read. There is a lot of stuff that is written in this field, though, that is not very good. You just have to look for the good stuff.

Frankly, despite my horror of the press, I'd love to rise from the grave every ten years or so and go buy a few newspapers.