Fiction should be an ethically safe space, free of fancy ideas. It should be dedicated modestly to relationships or escapism or the needs of luscious voyeurs.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

What I said was, the NSA does not voyeuristically pore through U.S. citizens' e-mails. I stand by that.

In the voyeurism of Reality TV, the viewer's passivity is kept intact, pampered and massaged and force-fed Chicken McNuggets of carefully edited snippets that permit him or her to sit in easy judgment and feel superior at watching familiar strangers make fools of themselves. Reality TV looks in only one direction: down.

We're kind of in a voyeuristic world. We have TV shows that are all about watching people do weird things in houses. People are obsessed with that. There's live coverage of it.

I'm a real voyeur.

Regular people are the problem. It's not the government, it's not the invasive Big Brother, it's the fact that we're a nation of snitches and nosey people who then cry when somebody wants our personal information. I'm talking about people who are being voyeuristic to people's privacy.

Producing, in television, we're in the business of voyeurism.

There is a difference between a voyeur and a tender witness. Maybe I think the audience is more of a tender witness than a voyeur, which has a shady undertone.

Fiction should be an ethically safe space, free of fancy ideas. It should be dedicated modestly to relationships or escapism or the needs of luscious voyeurs.

As an author, it's a strange process to watch your novel turned into a movie. It's tremendously exciting but somewhat voyeuristic; after all, novelists are rarely involved in the process.

'Love, Death and the Changing of the Seasons' is a kind of novel in verse about the arc of an urban lesbian love affair - and I suppose there is a certain amount of voyeurism in the consumption of fiction! The 'Sancerre' poems here are more contemplative and about the relationship of the individual to local and wider histories.

I don't follow anybody. I just flip through whatever Instagram sends me. I like to keep my algorithm pure, so I only ever like pictures of art. It's a rabbit hole for me because I'm a total voyeur.

The public is in need of experiences that are not just voyeuristic. Our society is in a mess of losing its spiritual centre.

'Paranormal 1' scared me because I didn't know if it was real or what. 'Blair Witch' was kind of scary for the same reason. It takes the voyeur element away and makes you think, 'Oh crap, this could really happen to me.'

As a kid, I used to dream about airplanes before I ever flew in one. I really knew, when I started photographing, I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to enter other lives. I knew I wanted to be a voyeur.

I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.

I'm house obsessed, a house voyeur. Always have been.

I'm on Twitter. I love Twitter because I'm kind of voyeuristic. I don't tweet, but I look at other people's.

I've always been kind of a voyeur.

But films should be voyeuristic. What else is a film if you're not snooping into somebody else's lives?

My dinner spot is usually in front of the TV. I'll grill a steak and whip up a salad and watch 'Hoarders'. I love it because a) I'm kind of voyeuristic, and b) every time I see an episode, I go to the one room where all my unpacked boxes wound up, and I throw out a box of stuff.

Not enough books focus on how a culture responds to radically new ideas or discovery. Especially in the biography genre, they tend to focus on all the sordid details in the life of the person who made the discovery. I find this path to be voyeuristic but not enlightening.

I come by writing dialogue fairly naturally, I've got a chatty family; I'm a bit of a voyeur, and if I'm ever in a public place, I automatically find myself listening.

I don't like being a voyeur, looking into other people's marriages.

The sort of enjoyment that we all get from that voyeuristic impulse of looking into other people's house as we pass them, and the idea that there might be something sinister or strange going on in the houses we pass every day or in our neighborhood, is a very compelling idea.

I studied a truckload of true crime, praying for illumination, but most true crime relies on luridness and voyeurism for effect.

How many times have we seen reality celebrities fall from grace - often through no fault of their own - and then go on a show like 'Celebrity Big Brother' and say, 'I want to show the public a different side of me.' And I'm screaming at the telly going, 'This is not therapy. This is voyeurism!'

I feel as though the camera is almost a kind of voyeur in Mr. Bean's life, and you just watch this bizarre man going about his life in the way that he wants to.

There's a very real possibility in this industry of going out and leading your life and then going home and being a voyeur of your own life. You can literally go watch yourself - where you went last night, what you did, what the things that people presuppose about you. It's kind of crazy.

Having been in the newspaper business for a long, long time, I often wonder, Why do we actually need to know about something like a bus crash in Bangladesh that has no effect on us at all? That can be nothing other than voyeurism.