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"When we were making KONG, I went into the sound room and made an aria of horror sounds. I was in charge of it; there was no one there to listen to me. I was totally in charge of what I wanted to do."
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"So in that sense, I and my fellow horror writers are absorbing and defusing all your fears and anxieties and insecurities and taking them upon ourselves. We're sitting in the darkness beyond the flickering warmth of your fire, cackling into our caldrons and spitting out spider webs of words, all the time sucking the sickness from your minds and spewing it out into the night."
"The teeth!-the teeth!-they were here, and there, and everywhere, and visibly and palpably before me; long, narrow, and excessively white, with the pale lips writhing about them, as in the very moment of their first terrible development."
"There was a muffled pop, the sound of a small pumpkin exploding in a microwave oven.Morris cut the wheel to the left and there was another bump as the Biscayne went back into the parking area. He looked in the mirror and saw that Curtis's head was gone.Well, no. Not exactly. It was there, but all spread out. Mooshed. No loss of talent in that mess. Morrie thought."
"Fear envelops bones like new skin,envelops blood with night's skin,the earth moves beneath the soles of the feet -it is not your hair but the terror in your head,like long hair made of vertical nails,and what you see are not shattered streets,but rather, within you, your own crushed walls,your frustrated infinity, again the city comescrashing down: in your silence, only water's threatis heard, and in the waterdrowned horses gallop through your death."
"The horror genre is important because it promotes experimentation in filmmaking."
"I must be informed, that one of my great duties was, to obey the priests in all things; and this I soon learnt, to my utter astonishment and horror, was to live in the practice of criminal intercourse with them."
Explore more quotes by Fay Wray
"It was so satisfying for me - a great reward, just to see it done well. And it was beautifully directed by my daughter Susan Riskin. Imagine, a play about my mother directed by my daughter?!"
"For the purposes of the play, it was perfect to be able to use that and the stresses and strains that there were. At the end of the play, the mother realizes the terrible things she had done."
"They were very considerate, I must say. Every time I felt I was about to slip out of these fingers and would yell for help, they'd let me down and re-organize things."
"It was good for us, I suppose. Those kinds of times produce qualities in us that make us better for having had them. My parents were not getting along. My mother was quite intolerant of friendships that were being developed."
"So I was asked to do horror film after horror film, a series of about five, after that, and some of those were a little too gruesome. I wasn't too comfortable all the time in those. I didn't really care for them."
"As far as advice, that will be in my next book, my next collection. I certainly never like to instruct anyone, but just say as I feel. That's the same as advice, isn't it?"
"I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all."
"The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough."
"Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me the audience had to look at me, too. He knew a lot about the theater and how to move around. He was very secure."
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