Some years ago, I read Thomas Carlyle's history of the French Revolution, and I was very taken by the way he told the story, and it seemed as though I was right in the middle of things. And it took me a while to figure out how he achieved that effect, and one of the ways was to write it in the present tense.

The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.

I always kind of aim with the action stuff to make it feel like, as an audience member, you're experiencing what the people are experiencing. As soon as you go into slow-mo or repeated edits, shooting it like it's a stunt, it takes it out of that reality. The more real you make that stuff, the more tense it will be.

I have an odd theory on happiness, and it bothers people. My general theory is that happiness is a reward for an animal doing what it should be doing. So if a horse runs, it feels happy. Or if you are too thin, you can't be happy, because evolution wants you to be tense and anxious, trying to wake up in the morning looking for food.

A quarter of America is a dramatic, tense, violent country, exploding with contradictions, full of brutal, physiological vitality, and that is the America that I have really loved and love. But a good half of it is a country of boredom, emptiness, monotony, brainless production, and brainless consumption, and this is the American inferno.

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