Guillermo del Toro Quotes

Though they don't always have to be set in fog, weather is incredibly important in ghost stories. As is suspense: you've got to turn the screw very, very slowly.

I think good suspense and horror is really about creating situations that are relatable, and throwing a wrench in it and watching how people respond to it.

I want my shows to be eerie and mysterious.

So much of 'Jaws' was amazing because the mind filled in what was missing.

There often is a dark secret in books... There is often a gathering sense of dread; there's a gap sometimes in the text from which all kinds of monsters can emerge.

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.

I've been a fan since I was a kid of that sort of bump-in-the-night stuff. I don't tend to go in too much for the slash-and-burn-'em or the walker kills on 'The Walking Dead.' That stuff's not necessarily the stuff that frightens me or gets me going. It's more the terror of waiting, the thriller aspects, that I find compelling.

Even though I don't necessarily believe in everything that's supernatural, I like being scared and I like things that are suspenseful.

A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.

Look at the world of both film and indie games, and you'll find a startling similarity between the two when it comes to creating the perfect horror story. The tricks storytellers pull to make your blood run cold never change; a creaking floorboard, the eerie feeling of being watched, wandering into a world filled with unspeakable terror.

It's not scary to make a horror film because you get to pull back the curtain and see that none of it's real. When you're watching one, the terror bombards you.

Creepy is better than just plain scary because you can't look away from creepy - you want to know the truth!

I think crafting a new, effective horror movie is not just about when night falls and things get scary. It's about setting a tone and mood that permeates throughout the entire movie. So even during the daytime, things are never quite safe-feeling.

I love writing thrillers.

Suspense is like a woman. The more left to the imagination, the more the excitement.

I find that usually when I watch something like horror film, I'm constantly thinking no, it's not going to happen.

Atmosphere, not action, is the great desideratum of weird fiction. Indeed, all that a wonder story can ever be is a vivid picture of a certain type of human mood.

When people think of a Hitchcock movie, it isn't just the visual, it's the sound.

You go to see movies to feel something, and being terrified - there's something so fun about that.

A great thriller, to me, is more about creating a sense of unease: a queasiness that comes with knowing something is not quite right.

People want a story - and my horror films have never been about only ghosts and spirits. They have their share of love, hatred, jealousy and complexity of relationships involved.

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

One of the wonderful things about 'Power' and why fans often say it makes their heart race is it's set up like a horror film because the audience is, like, four or five steps ahead of the characters.

I tried the second season of 'American Horror Story,' and it scared me horribly. I guess I prefer my own imagination to a realized visual.

I can't imagine making something that is made only to be scary. For me, the darkness and scary material has to have meaning attached to it, or I can't invest the time and energy it takes to write and script or make a movie. It has to mean something.