A Quote by Paul G. Tremblay

Horror is often about how we live in the liminal, whether we want to or not. — © Paul G. Tremblay
Horror is often about how we live in the liminal, whether we want to or not.
It's a liminal thing, humming, And I'm always interested in liminal things.
Addiction is more malleable than you know. When people come to me for therapy, they often ask me whether their behavior constitutes a real addiction (or whether they are really alcoholic, etc.). My answer is that this is not the important question. The important questions are how many problems is the involvement causing you, how much do you want to change it, and how can we go about change?
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.
If you have a year where a few good horror films come out, all of the sudden, horror is back and everyone's talking about how it's a vintage year for horror.
The clothes that I design and everything I've done is about life and how people live and how they want to live and how they dream they'll live. That's what I do.
Today's youth have been cast in a condition of liminal drift, with no way of knowing whether it is transitory or permanent.
In junior high I read a lot of Stephen King, whose Americana approach to writing was often about "the terror next door" and at the same time I was reading a lot of Clive Barker, who was on the other end of the horror pendulum: insidious and disturbingly psychological. I found it fascinating how these two authors came at horror from two totally different perspectives.
I had always loved horror films, so I wanted to do something in the horror genre but wanted it to be sweet and charming at the same time. Because there's a difference between watching horror, where you can leave it behind, and writing horror, where you have to live in it for months and months at a time.
I think accessibility is what often denies horror its deserved attention. So it all depends on the execution and whether mainstream audiences can accept it.
I guessed his name was Face of Horror. I wondered how long it had taken his mom to think of that. Bob? No. Sam? No. How about Face of Horror?
I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.
I'm looking at some comedic horror films because I have often been accused of being too dark. I'm not dark, not compared with 'Saw' or anything like that. So I'm looking at live-action horror films, but not slasher ones - ones that have humor and maybe some social satire.
We live within this reality we create, and we're quite unaware of how we create the reality. So the work is often a general koan into how we go about forming this world in which we live, in particular with seeing.
I can't talk about Hollywood. It was a horror to me when I was there and it's a horror to look back on. I can't imagine how I did it. When I got away from it I couldn't even refer to the place by name. ''Out there,'' I called it.
Sleep is such a potent, liminal state, and I don't want to drag anything in there that doesn't need to be there.
Chance, choice, and consequence are fundamental parts of existence and perfect fodder for a horror story - or any story, for that matter, that asks, 'How do you live through this? How does anyone live through this?'
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