A Quote by Robert Englund
The modern horror audience is wise to our tricks this lets it in on the gag.
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Of course the modern detective story puts off its best tricks till the last, but Doyle always put his best tricks first and that's why they're still the best ones.
The audience bursts into laughter. With the tragic gag I don't expect the audience to laugh (if they do, I have failed) but I expect a black silence from them that is almost as violent: as laughter.
Anyone can do shock value. Develop enough tension and cue the music right, then have something jump out: It's almost impossible not to jump in your seat. But that doesn't leave any effect on you when you leave the movie theater. To me, the best horror is psychological horror. The Exorcist, The Shining, The Omen, things that kind of stick with you long after you've seen them. It's what you don't see. It's letting the audience think a little bit, not spelling it out for them. Giving them credit for using their own imaginations rather than sticking in gags and tricks.
I don't like horror, which is ridiculous because I've been in three horror movies, but when I see those things, I see camera tricks and fake blood and actors screaming and I don't know understand why other actors don't see that.
Our children are exposed to 10, 20, 30 times the number of words that our great-grandfathers were exposed to. We're exposed in a single day or two to more horror on our Internet Web pages than our great-grandfathers were exposed to in decades of living. We have not created modern minds for that modern world. Science and technology has just dumped it on us. And I think people yearn for it. I think you see it in what's popular. Why are people wanting to learn about meditation and talking about a purpose-driven life? It's because they know more is needed in the modern world.
If you make just hardcore horror, there's a limited audience for that. Whereas if it's horror mixed with action, I think you kinda broaden your potential fanbase.
Homosexuality is like an inside baseball thing. It's like a gag that people share; 'How is your husband?' But when it comes to bringing diversity to a broader audience, suddenly it's a different road. It's what we call 'a risk.' Isn't it our responsibility to elevate the standards and change people's perceptions?
Sometimes, you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag, which is composition, placing, equilibrium, and character design.
One would have to say "in the end everything is a gag, etc" because everything is infinitely more than just a gag. The same applies to other "is"-statements such as "Laughter is an instant vacation"
Hence the genius of having Ken steer this ship as well. You have to invest these characters with a Shakespearian quality and not in a way that might disengage the audience but in a way that actually lets you play to an audience.
I think when the joke comes from the situation in a horror film, it's really great. I don't like jokey horror films like where people are cracking a joke or being post-modern about it.
Horror grows impatient, rhetorically, with the Stoic fatalism of Ecclesiastes. That we are all going to die, that death mocks and cancels every one of our acts and attainments and every moment of our life histories, this knowledge is to storytelling what rust is to oxidation; the writer of horror holds with those who favor fire. The horror writer is not content to report on death as the universal system of human weather; he or she chases tornadoes. Horror is Stoicism with a taste for spectacle.
The problems of our day loom ominously before us... Surrounded by the sophistication of modern living, we look heavenward for that unfailing sense of direction, that we might chart and follow a wise and proper course. Our Heavenly Father will not leave our sincere petition unanswered.
The best horror walks a line that's completely on a psychological level, not needing the typical tropes of traditional horror filmmaking, then also having to tease out those elements in a way that makes the audience feel like they know what they're in.
The news might be single-handedly trying to bring about an environmental catastrophe, which it will then report on. Super injunctions are interesting legal weapons really, they don't just gag the press, they gag them from mentioning the existence of the gag. Sport belongs in a news bulletin about as much as a mummified cat's head belongs in a Caesar salad. Combine the "mounting pressure" with the "growing cause" and you've got yourself a "media whirlwind" which you can also refer to.
[Abdellatif Laâbi] was a poet and worked as a high school teacher; and although he hadn't broken any laws, the Moroccan government was determined to "gag" him - I use the term specifically since one of my favorite sequences of his is entitled "The Poem Beneath The Gag."
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