Allen Coulter Quotes

That's a little homage in a way to that and also to create that sort of creepy atmosphere that Hitchcock did. Vertigo was one of his great movies that was shot right here in The City and it's about a woman and the psychological twists and so forth.

And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.

'Rear Window' isn't really a horror film, but it is a psychological drama, which I love. It is very tense.

For a while, my favorite movie was 'Vertigo.' Everything in that movie was captivating to me.

Vertigo is probably my favourite Hitchcock film and probably one of my favourite films of all time. It's a film that I'm obsessed with. I saw it on its first release in vista vision, projected in vista-vision, at the Capitol Theatre in New York. That moment when the nun comes up in the end... it's just an extraordinary shot.

It gives me vertigo to watch TV dramas.

They would hear 3000 and think it was the year 3000, I was hoping it would sort of disorient them and prepare them for the strange message they were about to receive.

I saw 'A Clockwork Orange' when I was 11. When you watch 'Clockwork Orange' at 11, it either totally scares you from watching movies, or you want to become a filmmaker. I was the latter.

When you're making a psychological thriller, what you need to do is have an audience on shifting sand so they're never quite sure where they are.

I watched 'Psycho' a million times.

I remember watching movies like 'Fatal Attraction' and watching the audience go bananas at the end of the film.

I saw 'The Shining' in eighth grade. I watched it on VHS at a sleepover and was petrified, totally petrified. And I didn't really start to digest the movie properly and understand it from a filmmaking perspective until I got older. But it pretty much defined what it meant to be scared of a movie for me.

Basically, I really love work that puts the reader into a kind of vertigo, into a real doubt, and a beautiful way to convey that, a really perfect metaphor for that, is to make the reader also experience doubt.

Without context, things are not scary. Without context, like humor, horror doesn't work.

I plugged my phone in where the blender used to be. I called someone. They went "Aaaaahhhh..."

It was like the entire world was colluding to make me feel insane, and it was doing a really good job.

If something's a little weird, it's Kafkaesque.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

She had heard it said that, before you could understand anybody, you needed to walk a mile in their shoes, which did not make a whole lot of sense, because probably AFTER you had walked a mile in their shoes, you would understand that they were chasing you and accusing you of the theft of a pair of shoes--although, of course, you could probably outrun them, owing to their lack of footwear.

There is probably no moment more appalling than that in which the tongue comes suddenly upon the ragged edge of a space from which the old familiar filling has disappeared.

You must have me confused with myself

Please don't ask me what the score is. I'm not even sure what the game is.

The strongest human emotion is fear. It's the essence of any good thriller that, for a little while, you believe in the boogeyman.

Alexia blinked stupidly at the Beta from around the earl’s upper arm. Her heart was doing crazy things, and she still could not locate her kneecaps. She took a deep breath and put some serious attention into tracking them down.