A Quote by Friedrich Nietzsche

Is it better to out-monster the monster or to be quietly devoured? — © Friedrich Nietzsche
Is it better to out-monster the monster or to be quietly devoured?
I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge - what kind of monster would fascinate people?
The monster behind the wall stirred. I'd come to think of it as a monster, but it was just me. Or the darker part of me, at least. You probably think it would be creepy to have a real monster hiding inside of you, but trust me - it's far, far worse when the monster is really just your own mind. Calling it a monster seemed to distance it a little, which made me feel better about it. Not much better, but I take what I can get.
People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keen bird-watcher.
When a monster stopped behaving like a monster, did it stop being a monster? Did it become something else?
I was really freaked out when I heard that Cookie Monster was going to be changed to Veggie Monster, but that turned out to be a lie.
Racing serves as a formal demonstration of your ability to ride the three-headed monster. The first monster is your physical preparation-lifting weights for strength, running for endurance, working on your technique. The second monster is your mental preparation-all our jabbering about humility, battling for your life, taking complete responsibility for the outcome. The last monster is your X Factor, your soul, your courage. Taken altogether, I call this three-headed monster the Process of Winning.
The monster I kill every day is the monster of realism. The monster who attacks me every day is destruction. Out of the duel comes the transformation. I turn destruction into creation over and over again.
The monster does not need the hero. it is the hero who needs him for his very existence. When the hero confronts the monster, he has yet neither power nor knowledge, the monster is his secret father who will invest him with a power and knowledge that can belong to one man only, and that only the monster can give.
I was working in the lab late one night When my eyes beheld an eerie sight For my monster from his slab began to rise And suddenly to my surprise... He did the mash He did the monster mash The monster mash It was a graveyard smash.
My past films came out on home entertainment in the U.S., so the next question was, how do we get a theatrical in the U.S.? Well, you put a monster in it. That will do it, because people love monster movies.
I was a monster. I don't deny it. I wasn't a monster until a few years ago. But you have to be a monster to survive in New York City. New York City doesn't give a damn about violence.
One thing that's a lot harder to put into stories than you'd think is the idea of a traditional monster, because monsters with a capital 'M' don't inherently lend themselves to a story about your character. Unless one of your characters is themselves the monster, simply having a monster leads to a chase or a hunt.
It would not take a monster to destroy a monster - but light, light to drive out darkness.
The giant squid is the perfect embodiment of a sea monster: it is huge, it has tentacles, it has big eyes, and it is absolutely frightening-looking. But, most important, it is real. Unlike the Loch Ness monster, we know it's out there.
I think what all the Universal monster movies are defined by, and what makes them very special, is that it's really the only genre entirely unto itself, in which you fear the monster and fear for the monster. That's a very hard thing to do. To fear for and fear at the same time is extremely unique.
You must not forget that a monster is only a variation, and that to a monster the norm is monstrous.
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