Chuck Hogan Quotes

Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.

Subtle horror is where you rarely see the blood and gore. The violent people are called splatter-punks, who prefer graphic, unrelenting, violent, fast-paced horror. I prefer horror stories with mysterious elements that are chock-full of suspense.

I always loved horror, but I read all sorts of books. My favourite as a child was 'The Secret Garden' which has a big influence on Lord Loss, believe it or not!

I think all television has to be about relationships and I don't think horror for the sake of it can work unless you're able to ground it in some kind of relationship.

I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.

I try not to put pressure on filmmakers to come up with a big scare at the beginning. I think that helps let the audience settle in and get to know the people they're about to spend 90 minutes with. Once the scarier stuff happens, it's scarier because of that.

I don't watch scary movies. Sometimes, even having to read the script and do an episode of 'Grimm,' I get a little tense because I know someone's going to jump out of somewhere.

A novel should be an experience and convey an emotional truth rather than arguments.

Writing fiction is for me a fraught business, an occasion of daily dread for at least the first half of the novel, and sometimes all the way through. The work process is totally different from writing nonfiction. You have to sit down every day and make it up.

The savagery and power of Edith Wharton's ghost stories surprised me.

You've either got to find a way to make your continuing characters insteresting without making them maudlin or overwrought, or you've got to put more emphasis on the suspects.

I loved ghost stories. I love horror stories. I love all of that stuff, but I really yearn for something to actually frighten me. It's more of a yearning for that than something that has to necessarily be cerebral or sophisticated. Good storytelling and something that actually frightens you.

As a viewer, I really want to watch author-backed stories, and there is something amazing about thrillers, the way it captivates your imagination.

'Hereditary' is unabashedly a horror film. In a lot of ways, it's in dialogue with other horror films. But I do know that it was important for me that the film functioned first as a family drama. I know that I'm never affected by anything if I'm not invested in the people to whom the genre things are happening.

Good horror is about so much more than slashing: it's a way of examining grief and loss of self.

I think my job is to deliver the best, most cinematic, rich, exciting, surprising and emotional version of 'Camelot.'

I tend to look way back for my inspiration: H.P. Lovecraft, Edgar Allen Poe.

I'm just trying to give the best human expression that I can to any particular genre, which could be comedy, could be drama, could be horror, could be thriller.

The most terrifying thing I ever saw in a cinema, thanks to the carefully built-up drama, was in the ancient black-and-white film 'The Innocents,' based on Henry James's 'The Turn Of The Screw.' My skin actually crawled with horror.

What I have learned from working on those great shows is what is the DNA that makes them so deeply involving and interesting for an audience over a long period of time. So much has to do with character, complexity, and sophistication.

What you don't want is for violence and gore to become more important than character and structure. A lot of slasher movies from the eighties were only focused on violence and gore, which robs the human beings in the story of any empathetic reaction from the audience, and instead makes them cheer for the gore.

I enjoyed Adam McCormick, it was this odd mix of coming-of-age, of horror, of suspense, of almost romance. These kind of disparate elements that for some reason blend really nicely into Jamie Marks is Dead quiet story. And I like that the scope of the film is very intimately focused. It's really fascinating and I didn't quite get the script at first, and I liked that, it made me want to keep thinking about it.

Comedy is one of my favorites, but I also want to get into drama and sci-fi.

'TMOK' is about the very interesting journey of a girl in a different situation, and different stories blend into one film. The film has a lot of emotional depth, and I am sure people will like it.

I loved writing 'Lost.' It was like a never-ending opera, in a way.