A Quote by H. P. Lovecraft
Nothing is really typical of my efforts... I'm simply casting about for better ways to crystallise and capture certain strong impressions (involving the elements of time, the unknown, cause and effect, fear, scenic and architectural beauty, and other seemingly ill-assorted things) which persist in clamouring for expression.
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My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature.
You can be technically strong, and focus all your efforts on elements like casting, music, cinematography and sets, but they are all just add ons. End of the day, filmmaking is really about how well you tell a story.
What people fear most about tragedy is its randomness - a taxi cab jumps the curb and hits a pedestrian, a gun misfires and kills a bystander. Better to have some rational cause and effect between incident and injury. And if cause and effect aren't possible, better that there at least be some reward for all the suffering.
I'm a very goal-oriented person in certain ways, and then in certain ways I understand that there's nothing at all that I can do about certain things. In other words, I would never set a goal that I don't have control over achieving.
The tighter you try and hold on to something that you are afraid of losing, the more you are pushing it away.Those thoughts are filled with fear, and if you continue to persist, what you fear the most will come upon you.
Fear nothing - just think about what you want. It feels so much better!
The theme of the collection this time is MONSTER. It's not about the typical Monster you find in sci-fi and video games. The expression of the Monsters I have made has a much deeper meaning. The craziness of humanity, the fear we all have, the feeling of going beyond common sense, the absence of ordinariness, expressed by something extremely big, by something that could be ugly or beautiful. In other words, I wanted to question the established standards of beauty.
It must not simply be taken for granted that a given set of ill-assorted people, for no other reason than because it is Christmas, will be joyful to be reunited and to break bread together.
We're better in the rearview mirror than we are at predicting - 'cause you're never going to be right every time. You can handicap it. You can point to certain elements that make it work, and many of those elements come straight out of epidemiology, right?
How will you go about finding that thing the nature of which is totally unknown to you?" (Plato) The things we want are transformative, and we don’t know or only think we know what is on the other side of that transformation. Love, wisdom, grace, inspiration- how do you go about finding these things that are in some ways about extending the boundaries of the self into unknown territory, about becoming someone else?
If we define a miracle as an effect of which the cause is unknown to us, then we make our ignorance the source of miracles! And the universe itself would be a standing miracle. A miracle might be perhaps defined more exactly as an effect which is not the consequence or effect of any known laws of nature.
As no cause remains without its due effect from greatest to least, from a cosmic disturbance down to the movement of your hand, and as like produces like, Karma is that unseen and unknown law which adjusts wisely, intelligently, and equitably each effect to its cause, tracing the latter back to its producer.
Economics is a study of cause-and-effect relationships in an economy. It's purpose is to discern the consequences of various ways of allocating resources which have alternative uses. It has nothing to say about philosophy or values, anymore than it has to say about music or literature.
The woman who first gives life, light, and form to our shadowy conceptions of beauty, fills a void in our spiritual nature that has remained unknown to us till she appeared. Sympathies that lie too deep for words, too deep almost for thoughts, are touched, at such times, by other charms than those which the senses feel and which the resources of expression can realise. The mystery which underlies the beauty of women is never raised above the reach of all expression until it has claimed kindred with the deeper mystery in our own souls.
He who feels compelled to consider the consequences of these facts cannot but realize that the specific sensibility of nerves for certain impressions is not enough, since all nerves are sensitive to the same cause but react to the same cause in different ways.
It is in the very nature of a beginning to carry with itself a measure of complete arbitrariness. Not only is it not bound into a reliable chain of cause and effect, a chain in which each effect immediately turns into the cause for future developments, the beginning has, as it were, nothing whatever to hold on to; it is as though it came out of nowhere in either time or space.
Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That's the really scary thing, not the slasher, macabre movies. It's the ones that deal with the inner fear: the unknown realms and the mysticisms that are scary.
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