I still don't feel I know Hitchcock at all. I find that the more one looks, the more elusive he becomes. But my admiration for Hitchcock the filmmaker remains undiminished. He is a giant of the cinema and the darkness in him informs his cinematic language. You can't separate one from the other.
What interests me is the sense of the darkness that we carry within us, the darkness that's akin to one of the principal subjects of the sublime - terror.
I'll never forget getting my first Nirvana, Soundgarden, and Alice in Chain records, and hearing that wonderful, beautiful darkness. And the rhythmic intensity, that's what attracted me more than anything else.
Rather than a taste for the macabre, I like the full range of human emotion in a story, which means darkness and light. It means warmth, but it also potentially means scares.
Through every rift of discovery some seeming anomaly drops out of the darkness, and falls, as a golden link into the great chain of order.
I would write my editorials using a manual typewriter in pitch-black darkness... I would produce the whole thing without having seen the text.
We've got to know the Word of God. That is our absolute stability. That is our offensive weapon against the kingdom of darkness.
Mining created Chile. The story of men who go down into the mountain and chip away at minerals in the darkness and then suffer an accident that leaves them at the mercy of that darkness is part of the DNA of Chile, an integral part of the country's history.
My earlier books, 'The Oath,' 'This Present Darkness' were pretty straight adventure. 'The Visitation' is like a deeper book, more thought-provoking. It probes at character more.
'Nice Guys' has darkness in it and parts that are kind of odd, but there are also parts where it's heartfelt and soulful. You can switch back and forth.
The moment you enlist in the army of God, you personally become a target. You need to remember that if you're living for and walking with Jesus Christ, the powers of darkness are aligned against you.
You can control and censor a child's reading, but you can't control her interpretations; no one can guess how a message that to adults seems banal or ridiculous or outmoded will alter itself and evolve inside the darkness of a child's heart.
Even Helen Keller, who was born blind and deaf, could see God. No doubt, in her silent darkness, every fragrant flower, every ray of the warm sun, every taste that touched her tongue told her that there was a God who created all things. Jodie Foster shouldn't therefore be surprised that people are surprised that she's an atheist.
When you're allowed to tell stories with ambiguity and darkness and things that are still unresolved, that's the dream scenario as opposed to having to fit into a more procedural mode or something a little more conventional. That's not what's working on TV right now.