A Quote by Ashley Bell
It's been said that horror films are experimental forms of art, and I agree. As an actress, you're put in positions and have to experience emotions that are way beyond reality, whether fighting in a post-apocalyptic world or being possessed by the Devil.
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When I was a kid I think the thing I remembered most about The Exorcist was Linda Blair being possessed by the devil, and how scary that was. It had a lot of parallels for me because the movie was challenging different ideas about faith and it was looking at religion in a darker way. Growing up I was afraid of being possessed by the devil, as an adult I'm afraid of being possessed by the world, by ignorance, and not holding on to my beliefs and what I feel strongly about.
I quite like post-apocalyptic films, things like 'Mad Max' for instance, because they are so full on and there is something quite cleansing about the post-apocalyptic because you can see where we all think we're heading.
Epic science fiction game, that's always been on my mind. Post-apocalyptic, 'Fallout,' was our first choice. Sci-fi was our second at the time, when we got the 'Fallout' license. We were going to do our own post-apocalyptic universe if we didn't get 'Fallout.'
In our culture, imitation-based experience dominates reality-based experience. I find this an awful thing. But there are artists who know from the bottom of their souls that art is about the experience of reality. The reason we have art is because you can’t get a real experience from the world.
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
As a horror movie fan, I was very obsessed with horror films. Still am. I love the genre. For me, horror films are opera, and they are... instead of consumption killing off the young lovers, it's Jason Voorhees or Michael Myers. It is when the stakes are at their absolute largest in a story: whether somebody is going to live or die. In a way, it's just holding up a mirror to life.
Dude. Post-apocalyptic world. Who does job applications anymore?” “I do.” I squint at it, then him. “What are you paying me?” I angle. “Dude. Post-apocalyptic world. Who does money anymore.” I snicker. First sign of any sense of humor he’s shown. Then I remember where I am and why. I wad it up and throw it at him. It bounces off his chest.
Being homeless is like living in a post-apocalyptic world. You're on the outskirts of society.
For centuries, epilepsy was the exact expectation of someone being possessed by the Devil. There was no better explanation, and it allows you to admit the existence of the Devil. If there's a Devil, that mean's there's a God.
The song "Sing for the Submarine" presents my dream world, which is way different from my waking world. It's set in the future and it's post-apocalyptic.
If everybody would agree that their current reality is A reality, and that what we essentially share is our capacity for constructing a reality, then perhaps we could all agree on a meta-agreement for computing a reality that would mean survival and dignity for everyone on the planet, rather than each group being sold on a particular way of doing things.
I think when the joke comes from the situation in a horror film, it's really great. I don't like jokey horror films like where people are cracking a joke or being post-modern about it.
Fighting positions, please, ladies...' 'That's debatable,' Halt said in an undertone to Will as they stood watching... 'The 'fighting' part or the 'ladies' part?' Will replied with a grin. Halt looked at him and shook his head. 'Definitely the 'ladies,'' he said. 'There's no debate about the 'fighting.'' Will shrugged. He knew there was an edginess to the girls' relationship and that it had something to do with him. Why that should be so was beyond him.
I grew up in the '80s where there's a lot of these kind of post-apocalyptic, post-comet, post-whatever it was, so that always captured my imagination a lot as a little kid, that idea of getting access to secret places and being able to roam around where you're not supposed to.
I've been fortunate in that the films I've worked on in the horror genre are themselves not pure horror, and have allowed me to write in a wide variety of styles. Those scores contain elements of fantasy, drama, action, comedy... really all types of scoring, and that gives the horror moments more impact. As for scoring the horror moments, I do like approaching the music from the psychological aspect, scoring to the characters' thoughts, emotions, motivations and such.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
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