A ghost story of which the scene is laid in the twelfth or thirteenth century may succeed in being romantic or poetical: it will never put the reader into the position of saying to himself: "If I'm not careful, something of this kind may happen to me!"
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Preface to More Ghost Stories of an Antiquary (1911); cited from Michael Cox (ed.) Casting the Runes and Other Ghost Stories (Oxford: Oxford University Press, 1998) pp. 337-8.M. R. James
To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse—we've got these two actors, we want to see them naked, so let's bring in the music and the soft light. In Mysterious Skin, none of the sex scenes are like that. They all are about the process that this character is going through—and he grows from each of those scenes. You couldn't have told the story any other way. There's nothing to be embarrassed about. I would be embarrassed if I was like, "Shit, everybody wants to look at my ass."
Joseph Gordon Levitt
To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse—we've got these two actors, we want to see them naked, so let's bring in the music and the soft light. In Mysterious Skin, none of the sex scenes are like that. They all are about the process that this character is going through—and he grows from each of those scenes. You couldn't have told the story any other way. There's nothing to be embarrassed about. I would be embarrassed if I was like, "Shit, everybody wants to look at my ass."
Joseph Gordon-Levitt
I could say, "Wait! Wait! I know what's going to happen down here!" Well you knew what was going to happen down here. How does it help us get our job done for me to tell you what's going to happen down here? You could say, "Stop! I want to draw on the white board what we're going to do tomorrow, because I can see it coming." Well maybe I can see it coming too, but why make a commitment? It will come soon enough. So, we're certainly here and now, but I think we can become excellent predictors. It's just that we're careful not to depend upon prediction anymore than we have to.
Ward Cunningham
Any schoolboy could see that man as a force must be measured by motion, from a fixed point. Psychology helped here by suggesting a unit — the point of history when man held the highest idea of himself as a unit in a unified universe. Eight or ten years of study had led Adams to think he might use the century 1150-1250, expressed in Amiens Cathedral and the Works of Thomas Aquinas, as the unit from which he might measure motion down to his own time, without assuming anything as true or untrue, except relation. The movement might be studied at once in philosophy and mechanics. Setting himself to the task, he began a volume which he mentally knew as "Mont-Saint-Michel and Chartres: a Study of Thirteenth-Century Unity." From that point he proposed to fix a position for himself, which he could label: "The Education of Henry Adams: a Study of Twentieth-Century Multiplicity." With the help of these two points of relation, he hoped to project his lines forward and backward indefinitely, subject to correction from any one who should know better. Thereupon, he sailed for home.
Henry Adams
I busied myself to think of a story, — a story to rival those which had excited us to this task. One which would speak to the mysterious fears of our nature, and awaken thrilling horror—one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart. If I did not accomplish these things, my ghost story would be unworthy of its name.
Mary Wollstonecraft Shelley
James, M. R.
James, P. D.
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