A Quote by Graham Joyce
My story reflexes come less from fantasy or horror than from the darker sort of psychological thriller - not as plot-driven as most, rather more mood-driven. My interest in the supernatural is a complication - though I am less interested in ghosts than in people who see ghosts.
Related Quotes
I am less interested in ghosts than in people who see ghosts.
I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.
With supernatural things, I have heard ghosts, but I've never seen ghosts. I do seek ghosts and I would love to see one, but I would crap my pants.
I've always thought of the project as a sort of sexually driven digestive system, that it was a consumer and a producer of matter. And it is desire driven, rather than driven by hunger or anything like that.
(What are your ghosts like?) (They are on the insides of the lids of my eyes.) (This is also where my ghosts reside.) (You have ghosts?) (Of course I have ghosts.) (But you are a child.) (I am not a child.) (But you have not known love.) (These are my ghosts, the spaces amid love.)
To me, the machinima artform has essentially evolved now into the Let's Play streaming world. That's what it is: it's people performing and creating art using video games. It's just more personality-driven rather than story-driven these days.
I am not scared of ghosts. I don't believe in ghosts or in the supernatural.
The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.
Most men are less afraid of ghosts than of facts.
love is thicker than forget more thinner than recall more seldom than a wave is wet more frequent than to fail it is most mad and moonly and less it shall unbe than all the sea which only is deeper than the sea love is less always than to win less never than alive less bigger than the least begin less littler than forgive it is most sane and sunly and more it cannot die than all the sky which only is higher than the sky
Granted, I'm more interested in technology than most people, and less interested in politics than most. But I don't like to think about categories. I really see myself as a general non-fiction writer.
With 'The Humans,' I've found that because it's related to very familiar forms - the family play and the thriller, almost a genre-collison play - some people want it to be one or the other. Either less dark and more of a family comedy or a full-fledged thriller with blood and ghosts jumping out of closets. Everyone's taste is different.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
I am driven by a desire to see poverty end and economic security be a guaranteed capacity for every person. Most of the impediments or solutions are state-driven, not federally driven.
Voluntary simplicity means going fewer places in one day rather than more, seeing less so I can see more, doing less so I can do more, acquiring less so I can have more.
The mania started with insomnia and not eating and being driven, driven to find an apartment, driven to see everybody, driven to do New York, driven to never shut up.
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