A Quote by Victor LaValle

The best monsters are our anxieties given form. They make sense on the level of a dream - or a nightmare. — © Victor LaValle
The best monsters are our anxieties given form. They make sense on the level of a dream - or a nightmare.
There were no vampires of note in Western literature until about the 18th century. But they tell us where we park our anxieties, whether its over-powerful women, death or damnation. We make our own monsters.
I had, in a way, become 'The Nightmare' in the cage, but also out of the cage. That's why I changed to 'The Dream.' But 'The Nightmare,' is who I am as a fighter and that's the way it's going to stay. I'll be a nightmare inside the cage and a dream outside of it.
'Eraserhead' is a weird, horrible nightmare, and it doesn't narratively make sense. Stuff's happening, but you honestly feel like you're in a nightmare, and it has such disturbing imagery that it stays with you forever once you've seen it.
The logical outcome of evolution is that it makes monsters. We turn into monsters because evolution takes away everything that makes us human in the sense of our moral accountability, our moral absolutes, and our idea of being distinct from the animal kingdom.
A serious athlete to me is one who is committed to excellence at any level, at any age, in any endeavor and in either sex. This commitment begins with a dream and a sense of talent and skill and determination to make that dream come true.
Psychics tap into what is collective: our regret and our sense of time going by; our common repression and anxieties.
My mother was a biographer's dream and a nightmare. She was a dream because she was a classic to write about and everybody loves her. She was a nightmare because there are no scandals, quasi-cruelties, no really juicy stuff.
America is not so much a nightmare as a non-dream. The American non-dream is precisely a move to wipe the dream out of existence. The dream is a spontaneous happening and therefore dangerous to a control system set up by the non-dreamers.
At our best and most fortunate we make pictures because of what stands before our camera, to honor what is greater and more interesting than we are. We never accomplish this perfectly, though in return we are given something perfect--a sense of inclusion. Our subject thus redefines us, and is part of the biography by which we want to be known.
Rather, it is the opening or the interruption that allows us to experience what is hidden, and to accept with our hearts our given situation. When film does this, when it subverts our absorption in the temporal and reveals the depths of our own reality, it opens us to a fuller sense of ourselves and our world. It is alive as a devotional form.
Good communication is not just data transfer. You need to show people something that addresses their anxieties, that accepts their anger, that is credible in a very gut-level sense, and that evokes faith in the vision.
If we could make up our minds to spare our friends all details of ill health, of money losses, of domestic annoyances, of altercations, of committee work, of grievances, provocations, and anxieties, we should sin less against the world's good-humor. It may not be given us to add to the treasury of mirth; but there is considerable merit in not robbing it.
I'm interested in the dream and subconscious mind, the peculiar dream-like quality of our lives, sometime nightmare quality of our lives.
It is when one begins to lose the consciousness of freedom, and when the idea of necessity enters the world at all, when there is any hurry or strain anywhere, a letter to be written or a train to catch, when you have got to work, to make the horses of the dream gallop, or to make the rifles go off, that the dream is declining, and turning into the nightmare, which belongs to the poorest and most vulgar class of dreams.
I think in some ways it would make more sense to have as a poverty level a relative concept and say, the level of poverty is that level of income or that level of consumption below which 10 percent of the people now are.
I see the dream and I see the nightmare, and I believe you can't have the dream without the nightmare.
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