Top 300 Alan Moore Quotes (2024 Update)
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251. “Every film is a remake of a previous film, or a remake of a television series that everyone loved in the 1960s, or a remake of a television series that everyone hated in the 1960s. Or it’s a theme park ride; it will soon come to breakfast cereal mascots.”

— Alan Moore

252. “I have so very much. I have so very little.”

— Alan Moore

253. “Places don’t stay where you left them. You go back there, anywhere, and even if it looks exactly how it did before, it’s somewhere else.”

— Alan Moore

254. “These days, superhero comics think the audience is certainly not nine to 13, it’s nothing to do with them. It’s an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal.”

— Alan Moore

255. “Books require titles; reading them doesn’t.”

— Alan Moore

256. “Here’s the thing: If you’re monitoring every single thing that goes on in a given culture, if you have all the information that is there to be had, then that is the equivalent of having none of it. How are you going to process that amount of information?”

— Alan Moore

257. “We’re saints and sinners both, the lot of us, or else there’s no saints and no sinners.”

— Alan Moore

258. “Do not weep. Being is enough. There, that is all. I am done...”

— Alan Moore

259. “On the one occasion where I did try writing a screenplay, I found the rewriting just unendurable.”

— Alan Moore

260. “If we loved Steve Aylett, really loved him in the way that he deserves, a selfless love that genuinely wanted nothing save his happiness and comfort, we’d lobotomise him.”

— Alan Moore

261. “She finds herself suspicious of religious zeal that has a business plan.”

— Alan Moore

262. “History, unendingly revised and reinterpreted, is seen upon examination as merely a different class of fiction; becomes hazardous if viewed as having any innate truth beyond this. Still, it is a function that we must inhabit. Lacking any territory that is not subjective, we can only live upon the map. All that remains in question is whose map we choose, whether we live within the world’s insistent texts or else replace them with a stronger language of our own.”

— Alan Moore

263. “Behind gods, ghosts, and people squats the state, which asserts total access to both public and private space: the.”

— Alan Moore

264. “I’ve had years of bizarre hallucinogenic magical experiences in which I believed I had communicated with entities that may well have been disassociated parts of my own personality or conceivably some independent entity of a metaphysical nature. Both would seem equally interesting.”

— Alan Moore

265. “In a sense, the story, or poem or verse or whatever it is you’re writing, you can kind of think of it as a kind of projectile. Imagine it is a kind of projectile which has been specially shaped to be aerodynamic, and that your target is the soft grey putty of the reader’s brain.”

— Alan Moore

266. “If we can come up with all sorts of imaginative ways in which people die, then I really don’t see what the problem is with coming up with imaginative ways in which people can procreate.”

— Alan Moore

267. “I genuinely like the people I meet at signings or the bits of public talking that I do.”

— Alan Moore

268. “Labour at your work until people cannot imagine what you have designed existing any other way.”

— Alan Moore

269. “Growing up in the Boroughs, I thought I must be the cleverest boy in the world, an illusion that I was able to maintain until I got to the grammar school.”

— Alan Moore

270. “I thought, “Well if I’m gonna react might as well overreact!”

— Alan Moore

271. “Give me a platform of ideas and harmonies on which to gesture and unfurl my wings. Give me a place to stand.”

— Alan Moore

272. “Ideas of self, ideas of world and family and nation, articles of scientific or religious faith, your creeds and currencies: one by one, the beloved structures falling.”

— Alan Moore

273. “The child had woken before she could ask whether this meant that pigeons were all human ghosts, forms that dead people had gone into and become, or whether they somehow existed simultaneously in Heaven, where dead people go, and up amongst the rafters of the derelict barn in the neighbour’s yard at the same time.”

— Alan Moore

274. “It wasn’t so much all the sex that robbed me of my moral bearings, but all the narcotics. I must say, there’s something about opium that goes very well with lesbianism.”

— Alan Moore

275. “I don’t think any of us grew up into the world we were hoping for or expecting.”

— Alan Moore

276. “Isn’t it strange how life turns into melodrama?”

— Alan Moore

277. “I’ve never watched any of the adaptations of my books. I’ve never wanted to, and there’s absolutely no chance of me doing so in the future.”

— Alan Moore

278. “He would sooner live a life of endless blessing than one of dying curse, and after all, it was in how you chose to see things that the narrow border between Hell and Paradise was traced.”

— Alan Moore

279. “In the sixties, for anybody to suggest that the government didn’t have our best interests at heart and policemen sometimes killed people would have automatically made them a radical firebrand lefty. That’s not the case anymore.”

— Alan Moore

280. “Three things, then. Escape, and finding work, and then explaining himself adequately. It was just those areas he had trouble with. Everything else, he was all right about.”

— Alan Moore

281. “Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.”

— Alan Moore

282. “The brightest has a gathering of people stood about it. Trapped beneath their heels, stretched shadows shy back from the flames, yet do not jump or dance. What are they burning there, so still by night? My.”

— Alan Moore

283. “You’re my only remaining link to the world.”

— Alan Moore

284. “I despise the comic industry, but I will always love the comic medium.”

— Alan Moore

285. “That’s how far the world is from where I am. Just one bad day.”

— Alan Moore

286. “All it takes is one bad day to reduce the sanest man alive to lunacy.”

— Alan Moore

287. “I don’t really think that very much is interesting about the superhero as an archetype.”

— Alan Moore

288. “Not thou alone, but all humanity doth in its progress fable emulate. Whence came thy rocket-ships and submarine if not from Nautilus, from Cavorite? Your trustiest companions since the cave, we apparitions guided mankind’s tread, our planet, unseen counterpart to thine, as permanent, as ven’rable, as true. On dream’s foundation matter’s mudyards rest. Two sketching hands, each one the other draws: the fantasies thou’ve fashioned fashion thee.”

— Alan Moore

289. “You have to impress him! Be independent and plucky, but often do things that are moronic and out of character!”

— Alan Moore

290. “In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.”

— Alan Moore

291. “There has been a rather unpleasant sensibility apparent in Frank Miller’s work for quite a long time.”

— Alan Moore

292. “Delightfully, however, even phrases of world-ending awesome fury, spoken through a split lip, were quite funny.”

— Alan Moore

293. “If you would know my path and follow in its way, then know the land about, both track and willage, in its bridge and in its drownings. Know the outcast rat-shacks, relic stones and gill-halls. Mark each path above and know the underpath below, its secret way from vault to treasure hole.’ My.”

— Alan Moore

294. “Do I believe, for example, that by using magic I could fly? No. How would you get around gravity? Impossible. Do I believe that I might be able to project my consciousness into a very, very vivid simulation of flying? Yeah. Yes, I’ve done that. Yes, that works.”

— Alan Moore

295. “Meat movies... In which the horror rests with the idea of doing to humans what humans do each day to trees in their thousands.” “Yes, as a symbol... Close your eyes, Mrs. Cable. Close your eyes and shout ‘timber’.”

— Alan Moore

296. “Why, Aza Chorn is dead. Just dead. About his monument, the ghosts parade. The zephyrs shriek and howl and tear apart the clouds, rail uselessly at death and in frustration snatch up blossoms shaped like human lips, and fling them like blood-red confetti from Olympus to those mortal pastures far below, a rain of angry kisses showering down upon those tiny, distant lives...”

— Alan Moore

297. “They are bright and exciting. Like America. Like its women.”

— Alan Moore

298. “I think that the Occupy movement is, in one sense, the public saying that they should be the ones to decide who’s too big to fail.”

— Alan Moore

299. “In my opinion, the existence of life is a highly overrated phenomenon.”

— Alan Moore

300. “It smelled big, smelled like morning in a church hall where a jumble sale was going on, the air a weak infusion in which stale, damp coats steeped with the crumbling fresh pinkness of homemade coconut ice, the sneeze-provoking pages of old children’s annuals and the sour metal lick of cast-off Dinky cars.”

— Alan Moore