Best 2148 quotes in «horror quotes» category

To keep hope alive one must, in spite of all mistakes, horrors, and crimes, recognize the obvious superiority of the socialist camp.

To me a great sci-fi movie has elements of horror and suspense.

To me Polanski is one of the greats in terms of psychological horror. It's just hard to top him because he's so damn good at it.

To this day I still watch tons of horror.

Val- I’m on Bourbon– (Acheron) I will not venture down that street of crass iniquities and plebeian horror, Acheron. It is the cesspit of humanity. (Valerius)

Usually horror in your personal life can translate into some good music. Sometimes. Sometimes it can be really maudlin and boring, and kind of personal.

We grow despite the horror that we feed upon our own tomorrow. We grow.

War is the ultimate reality-based horror show.

Waiting for the horror is almost more frightening than actually seeing it. Just the pending dread.

We cannot understand what happens in the universe. What is glorious in it is united with what is full of horror. What is full of meaning is united to what is senseless. The spirit of the universe is at once creative and destructive — it creates while it destroys and destroys while it creates, and therefore it remains to us a riddle. And we must inevitably resign ourselves to this.

We come from the mentality, that rarely sees the horror in symmetry or the beauty in non-conformity

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.

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

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

What can I tell you about things like Circus of Horrors except that I get killed by the bear?

Whatever you do....don't fall asleep.

Weirdly, I'm not a horror fan.

What pen can describe this scene of marvellous horror; what pencil can portray it?

What kind of times are they, when A talk about trees is almost a crime Because it implies silence about so many horrors?

What would life be without arithmetic, but a scene of horrors?

What 'Scream' was great at was presenting ironic detachment and then making you actually care about the people that were having it, and juxtaposing it with their situation, all in the service of making a great horror movie. It was fresh.

When horror turns into gore, when you show the monster, the killings, and the blood, it loses its suggestive powers. It loses part of what makes a horror film a horror film, which is that the images you see develop in your brain and you become the one imagining what you are not seeing on screen.

When a horror movie is well done, I love it and I put it up in esteem with any other genre.

When horror is associated with what is harmful, evil results, when disgust does, badness.

When I do a horror or a fantasy film it all boils down to something in the script that surprises me. It could be a big thing or a small moment. If it's there I'll do it.

When I was a little kid, I loved horror films. I always liked being scared.

When you're watching an action movie, you experience an action movie more outside of the aquarium, you're out of the aquarium looking in at all the swimming fish that are in there. Whereas horror films and thrillers are designed to put the audience into that box, into that aquarium.

When one writes, there’s the double horror of discovering not only what it is that one so fears but also the triviality of that fear.

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.

When you make a thriller/horror, darkness is [your] friend, because it lets the imagination go wild and what not. So you always end up going into darkness.

Whether or not Saddam is implicated directly in the anthrax attacks or the horrors of September 11, he is, by any common definition, a terrorist who must be removed.

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

With a horror movie, you're making a metaphor. You're making a personalized nightmare for the protagonist.

White... is death. It's hospitals. It's my terrible nurses. White is absolute horror. It is just the worst.

With a horror movie, you want to know where the engine of the fear is coming from. Like in comedy, you want to know what the engine that's going to make the comedy - where that's coming from.

Who has that absolute trust, to fling yourself into mortality, to let it do with you as it will, with all the permutations and possibilities of as it will, be it horror or ecstasy or boredom?

With all our horrors and faults, somewhere in us there is a shining.

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

Without context, things are not scary. Without context, like humor, horror doesn't work.

Without psychology, the horror film doesn't exist.

You have to take the horror seriously but there's gags aplenty. Most people, when they do horror it's just grim.

Working in magazines these days is like one of those horror movies where people keep leaving the room and not coming back.

You are horror and beauty in rare combination.

Young adults that actually read are reading bodice rippers and best-sellers and me. And Horror.

You know, in the horror movie you kill the monster, and the hand re-emerges. And if you're not looking, the hand grows back and then the monster's there again. That cannot be allowed to happen.

You're going through the horror of it, you're going through the isolation of it but you're being empowered by reminding yourself that you're connected to everybody else.

A bloody guy in overalls, wearing a straw hat, began chasing us. He held a saw, pointing it at us. We were gonna die! --The Body By the Tree

About the only law that I think relates to the genre is that you should not try to explain, to find neat explanations for what happens, and that the object of the thing is to produce a sense of the uncanny. Freud in his essay on the uncanny wrote that the sense of the uncanny is the only emotion which is more powerfully expressed in art than in life, which I found very illuminating; it didn’t help writing the screen-play, but I think it’s an interesting insight into the genre. And I read an essay by the great master H.P. Lovecraft where he said that you should never attempt to explain what happens, as long as what happens stimulates people’s imagination, their sense of the uncanny, their sense of anxiety and fear. And as long as it doesn’t, within itself, have any obvious inner contradictions, it is just a matter of, as it were, building on the imagination (imaginary ideas, surprises, etc.), working in this area of feeling. I think also that the ingeniousness of a story like this is something which the audience ultimately enjoys; they obviously wonder as the story goes on what’s going to happen, and there’s a great satisfaction when it’s all over not having been able to have anticipated the major development of the story, and yet at the end not to feel that you have been fooled or swindled.

A crush of bodies surrounded the featureless monument. The enraged dead clambered atop their ghastly kin. Caiaphas tucked his knees to his chest and hugged his legs tightly, staring at the scores of ragged, flailing hands as they scratched for purchase over the edge of the cylinder. Metal thrummed and thunder roared, filling his head. Now there were words within the deafening roar. “Straaaange,” they seemed to say. “Daaaace…” “Straaaangerrrr…” Then a quick, awful chant: “CAIAPHAS! FOREVER! CAI—” And with a piercing whistle it ended as his eardrums burst.

A Call For The Overthrow Of The World Government!