A Quote by Paul Greengrass

Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too. — © Paul Greengrass
Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.
The Internet is empowering everybody. It's empowering Democrats. It's empowering dictators. It's empowering criminals. It's empowering people who are doing really wonderful and creative things.
I've driven people mad on films that I've made - I want more takes; I want to try new lines. Then I want to interfere in the editing process, and I want to interfere in the advertising process - everything, everything. Pretty much Barbra Streisand in trousers, I am!
It´s natural to want someone you love to do what you want, or what you think would be good for them, but you have to let everything happen to them. You can't interfere with people you love any more than you're supposed to interfere with people you don't even know. And that's hard, ..., because you often feel like interfering -you want to be the one who makes the plans.
When you read a supernatural suspense story or a ghost story, or a horror story, the evil at play is something that you can dismiss. And I wonder if, in this time, if people really want to be sitting on the subway reading a book about someone releasing a dirty bomb on the subway.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
Horror is a reaction; it's not a genre. Somebody's life would have to be in danger for it [story] to be a horror story.
I feel, in my live shows, I can be as dynamic as I want. It's my comfort zone. When I get in the studio, it's more of a solitary experience, which can be good creatively.
I don't want to know movie directors. I don't want to be close to them. I don't want to interfere with their work. I don't want them to interfere with mine.
I think Mr. Clarke had a tendency to interfere too much with the activities of the CIA, and our leadership at the senior level let him interfere too much. So criticism from him I kind of wear as a badge of honor.
I wanted to write a horror story. But in some ways, I have always thought of myself as a kind of ghost-story/horror writer, though most of the time the supernatural never actually appears on stage.
I leave the genre labeling to other people. I really do. If I were to think too hard about it, that would stifle you creatively. If you think too hard about who other people want you to be as an artist, it stops you from being who you want to be as an artist.
Writing is an incredibly creatively empowering experience for me. It is the place where nobody tries to control what I'm doing.
The "I've tried everything" story ensures failure. You must create an empowering story that recognizes that everyone has failed a lot but successful people have found a way to rebound until they succeed.
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.
A cowboy, a lawyer, and a mechanic watched Queen of the Damned,” I murmured. Warren—who had once, a long time ago, been a cowboy—snickered and wiggled his bare feet. “It could be the beginning of either a bad joke or a horror story.” “No,” said Kyle, the lawyer, whose head was propped up on my thigh. “If you want a horror story, you have to start out with a werewolf, his gorgeous lover, and a walker.
When there's a great horror movie, people are like, 'Horror's back!' And when there's a series of not so good ones, 'Horror's dead.' I think it's all about the quality. When there are one or two good horror movies in a row, people come out interested again.
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