Quotes About Horror

Horror movies scare me. I don't really watch them. I'm not a big horror genre fan. I like certain classic horror - like 'Alien', 'Jaws', 'The Exorcist', stuff like that.

I wouldn't exactly describe 'Detention' as a horror movie. I mean, it does have horror elements in it, but it's got a lot more to it, and it's not a typical horror movie.

The thing is, horror is a big part of 'Sherlock Holmes.' Doyle also wrote a lot of great horror stories, so there's a lot more horror in 'Holmes' that people possibly think of. There's a lot of curses and mysticism and real scares.

I'm not a fan of horror. I don't think a proper horror movie has been done since The Shining.

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

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.

I love Child's Play 2! That movie has a great theme: You better listen to children. That's why I wanted to do it. I was scared to do a horror movie - a blatant, studio horror movie - but I liked the script, and I thought that was such an important theme, because I don't think adults listen to children enough.

The horror of Gandhi's murder lies not in the political motives behind it or in its consequences for Indian policy or for the future of non-violence; the horror lies simply in the fact that any man could look into the face of this extraordinary person and deliberately pull a trigger.

Because I am known in the horror genre now, I try and do at least one horror movie a year for my fans, my fans have been so good to me.

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.

Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.

When people make a horror movie, it's a few months. This is years of horror, that these guys have to play out. It just hit me and I was like, "Wow, that's heavy."

I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.

All the horror is in just this -- that there is no horror. . . .

Horror need not always be a long-fanged gentleman in evening clothes or a dismembered corpse or a doctor who keeps a brain in his gold fish bowl. It may be a warm sunny day, the innocence of girlhood and hints of unexplored sexuality that combine to produce a euphoria so intense it becomes transporting, a state beyond life or death. Such horror is unspeakable not because it is gruesome but because it remains outside the realm of things that can be easily defined or explained in conventional ways.

Physical reality is one of the biggest horror movies of all, and you know how we love horror movies.

People say 'Scott's [Derrickson] movies are kind of scary, is this a horror movie?' Of course, [Doctor Strange] it's not a horror movie. But what Scott has done so well in the best of his films is have one foot completely in the real world and one foot in this whatever supernatural sub-genre he was playing with.

I'm a horror movie fan to begin with, so to come back to the genre, I feel like horror has been very good to me.

The single combats of the heroes of history or fable amuse our fancy and engage our affections: the skillful evolutions of war may inform the mind, and improve a necessary, though pernicious, science. But in the uniform and odious pictures of a general assault, all is blood, and horror, and confusion . . .

No culture has yet solved the dilemma each has faced with the growth of a conscious mind: how to live a moral and compassionate existence when one is fully aware of the blood, the horror inherent in all life, when one finds darkness not only in one’s own culture but within oneself.

If government ownership of land and natural resources was the best way to protect the environment, then we should have found a Garden of Eden in the Soviet Union after the Iron Curtain came down. Instead, there was one environmental horror story after another.

That's definitely true! It was before my father died, so I can't attribute it to an obsession with death. When I was seven, I loved those old Sherlock Holmes movies with Basil Rathbone. The Scarlet Claw was one of my faves. And I loved all the Halloween's and that film about the haunted house... Burnt Offerings, with Oliver Reed. Every birthday party was a slumber party and we'd watch horror films.

Without music in a horror there is actually such a big part missing.

Horror does not interest me, and so I know little of its practicioners, old or current

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?

I suppose we all have our recollections of our earlier holidays, all bristling with horror.

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.

In the absolute sense - kind of from the God's-eye view - God might feel like, "I made this thing that has all of that in it, all the horror and all the beauty."

Wes Craven is obviously a horror film icon so I was definitely very interested in bringing something back to life that Wes had created.

A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.

People who sleep around to get roles are frail and scared and most likely without talent. It's their own little horror show that only they can deal with.

For horror movies, color is reassuring because, at least in older films, it adds to the fakey-ness.

Whether it's Mrs Dalloway's lost love or Thérèse Raquin's burgeoning horror, The Paying Guests reminds us of every great novel we've gasped or winced at, or loudly urged the protagonists through, and it does not relent. . . . The Paying Guests is the apotheosis of [Waters'] talent; at least for now. I have tried and failed to find a single negative thing to say about it. Her next will probably be even better. Until then, read it, Flaubert, Zola, and weep.

... everything written is at least in part fantasy. Except maybe the national budget. That's horror.

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.

Oh, the truth, oh yeah, lot of trouble that got us into, didn't it, over the last maybe thousand years? Hitler knew the truth, so did Stalin, so did Mao Zedong, so did the Inquisition. They all knew the truth and that caused such horror. Certainty is the enemy.

That's why I've come to you, to seek release from a curse of misery and horror against which I'm powerless to fight alone.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

I had to get used to wearing a mask and wearing a prosthetic and performing with those things while singing and expressing myself through stylized movement, while keeping it as human as possible so the audience could be closer to the horror of the Phantom.

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.

It is not that fathers are better or worse, not that they are more loved or criticized, but rather that they are viewed with far less intensity. There is no Philip Roth or Woody Allen or Nancy Friday who writes about fathers with a runaway excess of humor, horror ... feeling. Most of us let our fathers off the hook.

I am like the perfect horror movie viewer because I do not get scared very easily.

Young, gay and stuck in Arkansas? Sounds like a horror flick.

But I don’t think I’ve ever known such a natural at Potions!” said Slughorn. “Instinctive, you know — like his mother! I’ve only ever taught a few with this kind of ability, I can tell you that, Sybill — why even Severus —” And to Harry’s horror, Slughorn threw out an arm and seemed to scoop Snape out of thin air toward them.

Suddenly you’re ripped into being alive. And life is pain, and life is suffering, and life is horror, but my god you’re alive and its spectacular.

To call Clive Barker a 'horror novelist' would be like calling the Beatles a 'garage band'... He is the great imaginer of our time. He knows not only our greatest fears, but also what delights us, what turns us on, and what is truly holy in the world. Haunting, bizarre, beautiful.

Horror films do not prepare us for the hours lost in searching after one clear thought.

The photographs of one dead terrorist mastermind carry no real news or information about the nature or horror of war. They just create sensation instead of deeper understanding.