Lagoon Movie Quotes

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Women are the most important part of horror because, by and large, women are the ones the horror happens to. Women have to endure it, fight it, survive it—in the movies and in real life. They are at risk of attack from real-life monsters. In America, a woman is assaulted every nine seconds.
Mallory O'Meara (The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick)
The best monster films don't just parade some sort of terrifying beast in front of your eyes. They pull at a hidden element of your mind, a part that feels ugly, or afraid, or lonely. They give it flesh and blood, and sometimes sharp teeth. The power of a monster movie is in seeing that dark part of you running around on-screen. You get to watch it wreak the havoc and devastation you should never effect in real life. It's cathartic to see what happens if you let that part of yourself loose instead of shunning it and banishing it to its own Black Lagoon.
Mallory O'Meara (The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick)
Milicent Patrick’s final resting place is in every single Creature from the Black Lagoon T-shirt, every Metaluna Mutant toy, every VHS tape of Fantasia, every DVD of The Shape of Water. It’s on the desk of every female animator and in the pen of every woman doodling a monster in the margins of her notebook. It’s always been there. It’s just been hidden, purposely obfuscated. Now, it’s in every copy of this book, i your hands or on your ears.
Mallory O’Meara (The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick)
I have never liked looking at myself in a mirror. I don't know why exactly. I'm not movie-star handsome, but I'm not the Creature from the Black Lagoon, either. I'm pretty much a face in the crowd, which is a blessing when, like me, you have a reason not to draw attention to yourself. There's just something unsettling about studying your reflection. It's not a matter of being dissatisfied with your face or of being embarrassed by your vanity. Maybe it's that when you gaze into your own eyes, you don't see what you wish to see--or glimpse something that you wish weren't there.
Dean Koontz (Deeply Odd (Odd Thomas, #6))
Women have always been the most important part of monster movies. As I walked home one night, I realized why. Making my way down dark city streets to my apartment in Brooklyn, I was alert and on edge. I was looking for suspicious figures, men that could be rapists, muggers or killers. I felt like Laurie Strode in Halloween. Horror is a pressure valve for society's fears and worries: monsters seeking to control our bodies, villains trying to assail us in the darkness, disease and terror resulting from the consequences of active sexuality, death. These themes are the staple of horror films. There are people who witness these problems only in scary movies. But for much of the population, what is on the screen is merely an exaggerated version of their everyday lives. These are forces women grapple with daily. Watching Nancy Thompson escape Freddy Krueger's perverted attacks reminds me of how I daily fend off creeps asking me to smile for them on the subway. Women are the most important part of horror because, by and large, women are the ones the horror happens to. Women have to endure it, fight it, survive it — in the movies and in real life. They are at risk of attack from real-life monsters. In America, a woman is assaulted every nine seconds. Horror films help explore these fears and imagine what it would be like to conquer them. Women need to see themselves fighting monsters. That’s part of how we figure out our stories. But we also need to see ourselves behind-the-scenes, creating and writing and directing. We need to tell our stories, too.
Mallory O'Meara (The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick)
My father and I used to watch a ton of old horror movies when I was growing up. ’The Creature from the Black Lagoon‘ was one of my father’s favorites and he was very excited for me to see the film. But after the movie was over, I told him that I was kind of bored. I said to him, ‘I’m sorry, Daddy, but I saw the zipper in the back of the monster’s costume. From that point on, I was really never scared at all. The point I’m trying to make is that I don’t believe someone intentionally tipped off the target. And I maintain that no one made some horrendous mistake, which I’m now trying to cover up. I believe what really happened with the operation was that our target ended up seeing the zipper. Orlo Kharms realized something around him wasn’t… real. And he was able to avoid the trap we had laid out for him.
Richard Finney (Black Mariah - "A Calling")
Oh yeah, who doesn't love a movie night with their bestie, watching home videos of her getting fucked by four dudes at once?
Caroline Peckham (Paradise Lagoon (The Harlequin Crew, #4))
Nothing is definite, nothing precise. Evil is a free-floating force and can inhabit the most commonplace objects. Fear of the dark is essentially unspecific; like darkness itself, it is formless, engulfing, full of menace, full of death. The rest is child's play: naming the demons (Satan, Beelzebub, Hecate, Lucifer) and filling in the details (fangs, claws, bats' wings, goats' horns, toad's skin, dragon's tail) are ways of sanitising the nameless dread, of containing the uncontainable. In horror movies, no matter how brilliant the special effects, the moment where the monster is finally revealed is invariably a disappointment. The creature from the black lagoon or the morgue or the pit or outer space is always easier to live with, however dangerously, than the nebulous shapes created by the imagination running free. Once you can put a face on evil, it becomes, as Hannah Arendt said, banal.
A. Alvarez (Night: An Exploration of Night Life, Night Language, Sleep and Dreams)
Ultimately, the important thing to companies isn't ethics. It's money and power. For decades, they've been happily complicit in this bullshit system as long as money was being made. Men like Harvey Weinstein aren't losing their careers because movie studios are growing spines and hearts. They're losing careers because of the Everest-esque mountain of damning evidence stacked against them and that the public outcry might make those studios lose money.
Mallory O'Meara (The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick)