A Quote by Stendhal
People who have been made to suffer by certain things cannot be reminded of them without a horror which paralyses every other pleasure, even that to be found in reading a story.
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I think the mistake people make with horror movies and what makes them successful is a lot of horror movies get made by people who don't really like them, so they don't respect them. And when you like horror and have admiration for it, that community knows that what's important for a horror movie is important for every other kind of movie.
The best test to know whether an entity is real or fictional is the test of suffering. A nation cannot suffer, feel pain or fear, or has no consciousness. Even if it loses a war, the soldier suffers, the civilians suffer, but the nation cannot suffer. Similarly, a corporation cannot suffer, when it loses its value, it doesn't suffer. All these things, they're fictions. If people bear in mind this distinction, it could improve the way we treat one another and the other animals. It's not a good idea to cause suffering to real entities in the service of fictional stories.
So she thoroughly taught him that one cannot take pleasure without giving pleasure, and that every gesture, every caress, every touch, every glance, every last bit of the body has its secret, which brings happiness to the person who knows how to wake it. She taught him that after a celebration of love the lovers should not part without admiring each other, without being conquered or having conquered, so that neither is bleak or glutted or has the bad feeling of being used or misused.
In the thousands of stories I've collected over the years there are people who just want to know that their story matters, that their story isn't beyond hope. And people, no matter how broken a story I might read, I have always found at least a glimpse of God's hand still at work in each and every story. I have been powerfully reminded that God is in the junkyard business. He willingly walks into the messiest parts of our lives, gets his hands dirty, and begins building something beautiful out of that very thing which the world might overlook as worthless.
If you find that a point cannot be made without narration, it is virtually certain that the point is unimportant to the story (which is to say, to the audience).
It was a pleasure to have somebody else be the boss. It wouldn't have been nearly as much fun any other way. He's been around and made a lot of movies and he's a great straightforward person to work for. And it was a pleasure to see other people to pick up characters that you've sketched out loosely on paper and make them into something fascinating.
Certain people can keep a word tune, so to speak, and certain people cannot. And, above all, certain people can tell a story, and other people can't. They don't hear that point where something else has to come.
There's a certain pleasure of the life of the mind that cannot be denied. There's a certain pleasure about being around people who enact a playfulness when it comes to the world of ideas.
Every man has his price. This is not true. But for every man there exists a bait which he cannot resist swallowing. To win over certain people to something, it is only necessary to give it a gloss of love of humanity, nobility, gentleness, self-sacrifice - and there is nothing you cannot get them to swallow. To their souls, these are the icing, the tidbit; other kinds of souls have others.
There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
The intellectual part of religion is a private affair between every man and his Maker, and in which no third party has any right to interfere. The practical part consists in our doing good to each other. But since religion has been made into a trade, the practical part has been made to consist of ceremonies performed by men called priests ... By devices of this kind true religion has been banished, and such means have been found out to extract money, even from the pockets of the poor, instead of contributing to their relief.
Horror used to be one thing, and I think that's starting to broaden - there can have subgenres, and other things can be going on in a horror story. In comics, you'll never get the 'Boo' effect in a comic; you can go for mood, atmosphere and personal tragedy to build the horror elements and sense of dread.
What I want is to try and get across the idea that reading for pleasure is so beneficial. And turn children on who have maybe been switched off reading or never found a love of it in the first place.
There is a plain distinction to be made betwixt pleasure and happiness. For tho' there can be no happiness without pleasure--yet the converse of the proposition will not hold true.--We are so made, that from the common gratifications of our appetites, and the impressions of a thousand objects, we snatch the one, like a transient gleam, without being suffered to taste the other.
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