A Quote by Wes Craven
The first monster you have to scare the audience with is yourself.
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Real-life things, like spiders and snakes, that doesn't scare me, but if it's a monster or a ghost or an alien, that will always scare me.
At the end of the day, a "jump scare" scares the audience for the moment. Slow burn horror ideas scare people forever.
The first monster that an audience has to be scared of is the filmmaker. They have to feel in the presence of someone not confined by the normal rules of propriety and decency.
They can't scare me, if I scare them first.
Racing serves as a formal demonstration of your ability to ride the three-headed monster. The first monster is your physical preparation-lifting weights for strength, running for endurance, working on your technique. The second monster is your mental preparation-all our jabbering about humility, battling for your life, taking complete responsibility for the outcome. The last monster is your X Factor, your soul, your courage. Taken altogether, I call this three-headed monster the Process of Winning.
I try not to think too much about an audience when I'm writing the first draft of a book - at that stage, the prospect of anyone reading what I've written would be enough to scare me into setting my laptop on fire.
My wife is my first audience. She's a tough lady, so I can't say that I ever scare her. Except, of course, when she sees me the way I look before breakfast.
The truth of it is when you get an audience to laugh and camp along with you, it's much easier to scare 'em again because they're using two sides of their emotions. It's much easier to set them up for a good cheap thrill scare again.
Heaven is not a place for those who are afraid of hell; it’s a place for those who love God. You can scare people into coming to your church, you can scare people into trying to be good, you can scare people into giving money, you can even scare them into walking down an aisle and praying a certain prayer, but you cannot scare people into loving God. You just can’t do it.
I try not to think too much about an audience when Im writing the first draft of a book - at that stage, the prospect of anyone reading what Ive written would be enough to scare me into setting my laptop on fire.
When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.
I always enjoyed doing monster books. Monster books gave me the opportunity to draw things out of the ordinary. Monster books were a challenge - what kind of monster would fascinate people?
I never like to play for myself, and that is why I don't own a grand piano. To play for yourself is like looking at yourself in a mirror. I like to practice; that is to work at a task. But to play there must be an audience. New things happen when you play for an audience. You don't know what will occur. You make discoveries with the music, and it is always the first time. It is an exchange, a communion.
I do think you have to scare yourself. That's where your creativity or your growth comes from. Scaring yourself, challenging yourself, taking those risks, and not caring about what anyone thinks.
People look at me as if I were some sort of monster, but I can't think why. In my macabre pictures, I have either been a monster-maker or a monster-destroyer, but never a monster. Actually, I'm a gentle fellow. Never harmed a fly. I love animals, and when I'm in the country I'm a keen bird-watcher.
I look at an audience kind of like meeting my in-laws for the first time. You want to be yourself, but you still want to be somebody that they like. When I go on the stage each night, I try my best to outguess my audience.
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