A Quote by Dave Morris

'Frankenstein' is a work rich in possible meanings, so the horror-show interpretation is as valid as any. — © Dave Morris
'Frankenstein' is a work rich in possible meanings, so the horror-show interpretation is as valid as any.
Work is rich. It can be looked at psychologically or philosophically or personally. The interpretive nature of work is different than the work itself. The interpretation of work isn't the key to understanding it. I'm worried about making a good sculpture. I'm not so worried about the interpretation of it.
But the proclamation, as law, either is valid, or is not valid. If it is not valid, it needs no retraction. If it is valid, it can not be retracted, any more than the dead can be brought to life.
The real problem is not the religion itself, but its insistence that the interpretation it offers of the world is the only valid interpretation.
There is a deep question whether the possible meanings that emerge from an effort to explain the experience of art may not mask the real meanings of a work of art.
Black life is ambiguous, and a kaleidoscope of meanings, rich, multi-sided . . . we have frozen our vision in figures that caricature, at best the complexity of our lives and leave the real artistic chore of interpretation unfinished.
I don't think 'Freak Dance' is a parody; it's more reference than anything. People don't think of 'The Rocky Horror Picture Show' as a 'Frankenstein' parody. It's kind of like that.
My earliest childhood memories are of watching Abbott & Costello Meet Frankenstein and Frankenstein Must Be Destroyed. I remember not liking Frankenstein then and going, "Who is this bald guy?" But I love it now.
The Text is plural. Which is not simply to say that it has several meanings, but that it accomplishes the very plural of meaning: an irreducible (and not merely an acceptable) plural. The Text is not a co-existence of meanings but a passage, an overcrossing; thus it answers not to an interpretation, even a liberal one, but to an explosion, a dissemination.
Artists should be free to create what we want. I believe there's a special value in work that is a reflection of oneself as opposed to interpretation. When I see a film or a TV show about black people not written by someone who's black, it's an interpretation of that life.
'Son of Frankenstein' is never talked about in the same tone as James Whale's 1931 'Frankenstein.' But it should be. It was Boris Karloff's last appearance in the Frankenstein series and stars Donnie Dunagan, then a child actor.
All meanings, we know, depend on the key of interpretation.
As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.
The horror of the Holocaust is not that it deviated from human norms; the horror is that it didn't. What happened may happen again, to others not necessarily Jews, perpetrated by others, not necessarily Germans. We are all possible victims, possible perpetrators, possible bystanders.
In TV and film, a little goes a long way. I see the show as horror so a lot of the [violence] is suggested. But it is violent. It is gory. I don't see any need to up the gore. Just to keep it as real and visceral as possible.
I really don't know what exactly all the songs mean. Sometimes other people have meanings and when I hear them I think, 'That's really a better meaning than I thought, and perfectly valid, given the words that exist.' So part of what makes a song really good is that people take in different meanings, and they apply them, and they might be more powerful than the ones I'm thinking.
The idea of a Frankenstein-like creature is something I've done several times. It's such an icon of the horror scene.
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