A Quote by Tony Burgess

A horror novel should reveal to you that you are falling apart. That there are ways your imagination can be made different. Can threaten what you think is. You should be holding onto that tree or rock screaming. Or laughing. Not at absurdity, either: absurdism is just a bourgeois and reactionary nostalgia for good, stable meaning.
so, the whole idea, you see, is that everything's falling apart, so don't try and stop it. when you're falling off a precipice, it doesn't do you any good to hang onto a rock that's falling with you. see? but everything is doing that. and so, again, this is another case of our completely wasting our energy in trying to prevent the world from falling apart. don't do it. and then you'll be able to do something interesting with the free energy.
A good horror movie should have peaks and valleys, a good horror movie should move you emotionally; a good horror movie should be exciting to watch and energizing in a weird kind of way.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
Planners and designers should encourage as much diversity in human habitats as they find in animal habitats. It is not possible to resolve all conflicts or to gain all ends. Choices have to be made. Different aspects of the public good should be stressed in different places. To achieve variety in land use patterns, there should also be a variety of relationships between the professions, not an institutionalized decision-making tree. Relationships between the constructive professions should, therefore, be deconstructed.
I am not sure one is capable of reflecting absurdity without having a strong sense of meaning. Absurdity makes sense only against a meaningful background. It is the deeper meaning that is shedding light on the absurdity. There must be a vanish point, a metaphysical horizon if you will where absurdity and meaning merge.
Christians, of all people, should not be destroyers. We should treat nature with an overwhelming respect. We may cut down a tree to build a house, or to make a fire to keep the family warm. But we should not cut down the tree just to cut down the tree. We may, if necessary, bark the cork tree in order to have the use of the bark. But what we should not do is to bark the tree simply for the sake of doing so, and let it dry and stand there a dead skeleton in the wind. To do so is not to treat the tree with integrity.
I don't know if it's possible to affect my ego any more. There's no room left. For me, I think I make music like the way I think it should be made, like what rock should sound like. It has nothing to do with the current marketplace. And so from that state of mind, it's gonna sound different from anything else out there. And when something sounds different, I think that can be inspiring to other musicians.
What do you do when your world is falling apart? How do you hold onto the real and the rational? I think that's very relatable for people.
We [The Replacements] never made any money on tour. None of us came out of the school of economics. We took it for granted that a rock and roll band gets ripped off. We've tried to shake that tree a couple of times, but what can we do? You look back, when you're sort of idle in your middle years, and think, we should have made some money.
Screaming. Did I mention the screaming? Screaming is usually associated with horror films and roller coasters. This is why I usually look like I've just watched a horror film on a rollercoaster. Kids love to scream. Frightened, happy, bored. They scream. I've actually learned to love the sound of a vacuum cleaner. It's just so peaceful.
The falling apart of a man's life should make more noise. It should startle passesrby with its Sturm and Drang. It ought to sound like the Parthenon crashing down. Not this ordinary, everyday kind of quiet...He closed his eyes...And still it was quiet, this falling apart of his life, as silent as the last beat of an old man's heart. A quiet, echoing thud, and then...nothing.
You should never bother trying to remember where you put something. You should just imagine needing to put it somewhere now, then go to the place you pick. Because why would you pick a different location now than you did earlier? Your personality is more stable than that. It's not like we wake up each day as different people. It's just that we don't trust ourselves.
Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.
It is not impossible, of course, after such an administration as Roosevelt's and after the change in method that I could not but adapt in view of my different way of looking at things, that questions should arise as to whether I should go back on the principles of the Roosevelt administration.... I have a government of limited power under a Constitution, and we have got to work out our problems on the basis of law. Now, if that is reactionary, then I am a reactionary.
I tend to fall more into the fun horror genre than the traumatic horror genre. I love the films where you're laughing as much as screaming, but that doesn't mean I don't like the other ones.
The thing about good acting is asking, how much are you going to reveal and when should you let the viewers' imagination take over?
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