A Quote by Stephen King

A scary movie puts a lot of people, a mob, in one place. There are advantages to that because the panic runs through the audience. If it's a good movie, the fear jumps from one person to the next. You can find yourself screaming just because everybody around you is screaming. There's a real atmosphere of terror. It's also visual, which means that you can't look away from this thing - it's happening. You're in the dark. It's like a nightmare. It's like a dream. It's very, very visual. It works on all those levels.
You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.
I think 'The Thing' is so good because it's not just a scary movie. It's also social commentary, which works on multiple levels, which is something I really respond to.
Night terrors are in deep sleep, and they're more common in kids, as are nightmares, but what happens in a night terror is like a flash - we think a flash of some image or something happens in the brain. We don't really quite know what. And it usually ends up with the child screaming almost like screaming bloody murder. It's very scary for the parents or whoever else is around.
With a horror movie most of the actual jumps and scares are made in the edit. It's often not very scary on set and then you watch the film and suddenly it's very scary because the way the jump scares fit together building up the suspense in the audience because it's making them jump when they're least expecting it.
And this movie [Real Steel] definitely looks like nothing else I've made, which was the point. I think also, Evangeline and Hugh are such a fantastic... Their chemistry is so genuine. And also it's a good balance to all those visual effects. It'll give you more of the tone.
Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.
How many pictures have you torn up because you hate them? What ends up in your scrapbook? The pictures where you look like a good guy and a good family man, and the children look adorable - and they're screaming the next minute. I've never seen a family album of screaming people.
I really like my first movie a lot, 'Kicking and Screaming.' I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't 'Citizen Kane' right out of the box, you know? It wasn't 'Sex, Lies and Videotape.'
I really like my first movie a lot, "Kicking and Screaming." I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't "Citizen Kane" right out of the box, you know? It wasn't "Sex, Lies and Videotape."
I'm a very eclectic person, and I enjoy multiple tastes; I'm like a bee who jumps from flower to flower. Before I die, I have to make a war movie, a Western, and a movie like Mike Nichols, because I love him.
What ends up in your scrapbook? The pictures where you look like a good guy and a good family man, and the children look adorable - and they're screaming the next minute. I've never seen a family album of screaming people.
I'm very interested in the visual world because I'm also very interested in feminism. I find that the world of watching takes us into the most psychotic state of, like, "You are this one person, but you have to become another person to see these images."
I learned capacity for self-reflection very early, finding it through interior monologues that books are so good at and that visual media is so bad at because it's so boring - nothing's happening. In a book, you can be inside the narrator's head for 50 pages, and nothing needs to happen. Then you learn to be inside your own head without something needing to happen. It's a very good antidote to a crazy, restless, "what's next?" culture - that you can just be in your own head and nothing is happening except that this is a rich place. I love that.
I get a lot of dramas, but I'd like to do a romantic comedy type of movie; that'd be a nice step for me. No more screaming or running or shooting... for one movie where I can just be in love with a boy.
Everything has become very corporate and very careful. Before we had a real democracy going and there were a lot of freedoms and now there's this terrorism thing that everybody's focused on, which is really a boondoggle in my opinion. It's just an excuse to clamp down on people's free speech. And corporations intimidate people and everybody's gotten intimidated and that's really what it is, and they just keep going along. It's almost like - a little bit like that Charlie Chaplin movie, Modern Times, or 1984, Orwell
I don't think the film is going to work for everybody, period. It wasn't meant to be done for everybody. I didn't four quadrant this movie, like Hollywood did. I knew it was a very specific audience that was there. We're also taking a shot in the dark.
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