Panos Cosmatos Quotes

Human requirements are the inspiration for art.

Far From Home was also my idea from a magazine I'd seen.

I'm inspired by nonmusical things a lot, whether it's a film or a book or whatever.

I can't tell you how much more important watching 'Hellraiser' is to my music than listening to a Milton Babbitt piece or something.

I could never live without artwork. It's a constant inspiration.

When you're home or you're working, your mind just isn't allowed to just roll on like it does when you're watching the scenery go by. You're hurdling through space but you're not really moving. ...It's that dreaminess, that ability to just get dreamy while you're looking out the window and you see something...and it makes you think of something else, and all of a sudden the words are just flowing out of you.

I was in the sixth grade and living in Germany, when I was hanging out late with some friends. I turned around, and there's a dude dressed up as Michael Myers following us all the way home. It was the scariest thing ever, and it always reminds me of Halloween. In my mind, I was so young, so I really thought it was Mike Myers following me home.

I go to somewhere I haven't been and just watch people and colors. That's my inspiration.

When I was about 7 years old, I built a leprechaun trap out of a cardboard box, a biscuit tin and some toilet paper tubes.

I wasn't into horror movies.

When I was 9, I saw 'Star Wars,' and it set me on a path to where I am today.

The Lighthouse' isn't scary. A few people have said it is, but I don't think it is.

I built a fort when I was little, with pillows and blankets.

Whenever I get lost in a novel I just throw a poem in. What it does is flare up, and it's so illuminated that I'm able to see where to go. I write between these illuminations.

You know there's always that kid in your class — and every class has one — the kid who draws all the time and is really good? That was not me. I was a lousy draftsman. But as soon as I figured out that I could make things come alive, like using the corners of my math book to make flipbooks, I was hooked.

I was always an actress, even as a little kid, and fantasy, horror, sci-fi stories are really all about playing make believe. I just never grew out of that.

An excess of childhood is the germ of a poem.

My first love was reading, which inspired me to write.

Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.

The process by which the idea for a play comes to me has always been something I really couldn't pinpoint. A play just seems to materialize; like an apparition, it gets clearer and clearer and clearer. It's very vague at first, as in the case of Streetcar, which came after Menagerie. I simply had the vision of a woman in her late youth. She was sitting in a chair all alone by a window with the moonlight streaming in on her desolate face, and she'd been stood up by the man she planned to marry.

Being receptive to what is happening around me gives me inspiration and feeds my desire to create.

When you have that first flash of what you think is going to be a great idea-from the mouth, from the hands-that's an amazing feeling. I don't think anything's quite as good as that.

Horror films have been with us forever, so you can't say I originated that in any way, but it sort of brought back a classical way to make a horror film.

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo

So where do the ideas-the salable ideas-come from? They come from my nightmares. Not the night-time variety, as a rule, but the ones that hide just beyond the doorway that separates the conscious from the unconscious.