Horror Storytelling Quotes

Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.

Chad Michael Ward is a master of the storytelling craft. His imagery, both still and moving, reaches deep into the darkest corners of the mind, combining the macabre and the sensuous Revealing humanity's secret daydream atrocities. CMW taps into our most excitable of emotions with a blend of fear and human sexuality. Like an erotic car accident we can not look away from.

There is a big market for horror in India, but people don't explore that much.

I really want to do a 'True Blood-Six Feet Under' comic book crossover.

I have a lot of stories. I had done a thing called Nightmare in Red White and Blue, which was an anthology of horror films. I narrated it with a man named Joe Maddrey, who's a writer. He came to my house and said, "Lance would you consider doing this?," and I like Joe so much that I completely relaxed.

I'm not a horror guy, it's not my thing, but I respect it a lot. I know how hard it is to make, especially to make good.

In junior high I read a lot of Stephen King, whose Americana approach to writing was often about "the terror next door" and at the same time I was reading a lot of Clive Barker, who was on the other end of the horror pendulum: insidious and disturbingly psychological. I found it fascinating how these two authors came at horror from two totally different perspectives.

Well, don't tell Steve Niles but I just don't think horror works in comics.

Truth is, I love all the horror guys and girls: Gord Rollo, Shirley Jackson, Harlan Ellison, Ramsey Campbell, Dan Simmons, Thomas Ligotti. Each one of them brings something wonderfully different and, because I love the genre, I love those who love the genre, too. And I hope the genre ends up loving me back.

When 'The Walking Dead' has been its best, all that stuff is happening at once: the emotion, action, horror, scares. I'm very proud that I was able to write an episode where a little zombie girl could walk out of a barn after a horrific zombie execution and have people cry. That's one of the proudest things I've ever done.

With most other genres, you need movie stars. With horror, you just need a story.

Trying to break into the horror market seemed natural.

But I think we are seeing a resurgence of the graphic ghost story like The Others, Devil's Backbone and The Sixth Sense. It is a return to more gothic atmospheric ghost storytelling.

I got very lucky to work with Wes Craven, very early on in my career, and continued to work with Wes for almost 19 years. I learned so much from him, and about his sense of story and his sense of horror, and that was great to be a part of.

As a kid I got to like hang out with Stephen King. That was like the highlight of my life. Cause I think he's the raddest human being ever.

It'll die down like every other genre, but horror has always been one of the four or five main genres that will never go away.

Most of my horror inspiration is really older stuff and really new stuff.

[British television series] Hammer House of Horror. I used to really enjoy these one-off stories where often there would be an incredibly cruel twist. A good example is the episode with Burgess Meredith and there's a nuclear war and he drops his glasses. To this day, you can show that to anyone and they'll go "Bwrrrrrrrr!" You know, sort of wander away shuddering.

The young woman who brought me acquainted with Captain Murderer had a fiendish enjoyment of my terrors, and used to begin, I remember - as a sort of introductory overture - by clawing the air with both hands, and uttering a long low hollow groan. So acutely did I suffer from this ceremony in combination with this infernal Captain, that I sometimes used to plead I thought I was hardly strong enough and old enough to hear the story again just yet.

For me it's about creating and sustaining tension for as long as possible, and I'm not generally interested in allowing that tension to be deflated, especially by a jump scare.

I feel like with the first 'Insidious' film we had a massive cache of stories and scares that we'd built up over the years. It was like a band, you know they say a band has forever to write their first album because no one cares.

Teaming up with Adaptive Studios and Shudder is a wonderful opportunity to support emerging filmmakers in finding the new horror icon. This is also a great chance to scare and entertain audiences at the same time.

A viewer's imagination is a powerful storyteller, and can often come up with things way more frightening than what you can explicitly show in a horror movie... try to engage that imagination, and the results can be magical.