Quotes of All Topics . Occasions . Authors
The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.
I love a psychological thriller, particularly ones that are written by women. I've just finished 'Gone Girl' by Gillian Flynn, which was so creepy and never failed to surprise me, particularly the end.
'Ten Days in the Valley' has everything: It's a thriller, it's a taut, exciting love story, and it has the kind of character our audience loves - a strong, powerful woman who is also dangerously flawed.
I loved that it was about human relationships and then it was a mystery without falling into the trap of a thriller per se, because it pulled you in through people rather than through events or effects.
When I was a teenager, I used to watch the 'Making Michael Jackson's 'Thriller'' video and try to follow the steps and do the 'Thriller' moves in my bedroom. That was the most incredible dance sequence.
In 'Power Play', Finder uses the thriller structure to make pointed observations about gender in the workplace, the corporate caste system, and the true nature of risk in the global business environment.
The guy that I worked on 'Thriller ' was a genius and he was 20 years old, but it was like working with a gifted 10-year-old. The guy who I worked on with 'Black Or White' was crazy. Michael had gone mad.
My debut film, 'Madras Cafe,' is a political thriller in which John Abraham plays an army officer. My character's name is Ruby Singh, and I play John's wife, with all the strappings of an army man's wife.
I've just done a film in the United States. It's a thriller called 'A Crime', with Harvey Keitel, we play against each other, and it's so great to play in another language. But I'm definitely not American.
I would love to do something in the thriller category. Not so much horror, but I would love to do a full-on psychological thriller. That would be really interesting. A period piece would also be fantastic.
I find campfire stories and urban legends are kind of the bread and butter that inspires a lot of people who are making horror and thriller. There is a nugget of truth behind these sort of cautionary tales.
R.E.M.'s 'Automatic for the People' - that's probably one of my favourite records - Michael Jackson's 'Thriller' - that's some record - Crowded House's 'Together Alone' - that's brilliant, fantastic record.
With 'Badlapur', I wasn't even thinking about casting. I was wondering whether any producer will want to make a film with a story like this. It is not your expected, feel-good, or even your regular thriller.
Here I was, having done a thriller and a horror movie - why did I have the audacity to make a romantic fantasy? How can I continue to make genre films? Well, maybe I don't want to continue to make genre films.
Jack Kennedy very much enjoyed Fletcher Knebel's thriller 'Seven Days in May,' later a film. The story: a jingo based on the real-life Admiral Arthur Radford plans a military coup to take over the White House.
I'd love to do a sci-fi movie, a western, or an espionage thriller. But I'm not going to limit myself. If a good script comes along, I'm not going to discount it because it doesn't fit into one of these genres.
I think mystery writers and thriller writers - whatever genre you want to call it - are taking on some of the biggest, most interesting kind of socioeconomic issues around in a really interesting, compelling way.
Even if it's a thriller or a comedy, it's always a love story for me, and that's what I concentrate on, because the love stories are my surrogates for the argument: two people in conflict that see life differently.
When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.
When I wrote my eighth thriller, 'Inside Out,' in 2009, the villains were a group of CIA and other government officials who colluded to destroy a series of tapes depicting Americans torturing war-on-terror prisoners.
Even in a manuscript form, 'The Girl on the Train' sort of leapt off the pages as a contemporary suspense drama-slash-thriller. It has all the mechanics of a thriller, but at the heart of it was a great character study.
The first film I made was when I was 13 and it was called 'The Dogs That Ate Detroit.' It starred my Saint Bernard Barney, and it was a killer thriller with oodles of special effects that were cutting edge for the time.
I'm still shooting on low budgets, though none of my movies has lost money, and I rarely get sent anything that stars a guy or is a thriller or is seriously dramatic. And I would love the opportunity to do those things.
In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.
Having written for film and television, I had little interest in turning 'The Good Father' into a Hollywood thriller. I was writing a novel, and novels demand that the writer goes deeper, both emotionally and thematically.
It is a political thriller. It's very action packed and it's very exciting, but at the same time it's a very big soulful love story about longing and loss. They're not separate, they're completely dependent on one another.
For people that don't know and haven't seen a Bollywood film, you need to go and see one. They give you everything in one. They give you your comedy, your fear, your horror, your thriller, your rom-com. It's everything in one.
I'm so proud of 'Underground' because it's this thriller; it's this action- adventure. It's unexpected. People think it's gonna one be one thing - they think it's gonna be very depressing and downtrodden - and it's empowering.
People don't call them horror movies, but Hitchcock, for me, is my favorite storyteller. He was really exploring dark themes, and I don't know what category you put his movies in. Thriller? Horror? Some of them go in either one.
There's a lot of similarities, I think, between a thriller and a comedy because it's all about tension. It's about building tension and setups and payoffs and misdirections and surprising people and sort of pushing the boundary.
With a thriller, you're going to have your red herrings, as different suspects are thrown up as possible culprits. You can only explore that for so long - if you do that more than a few times, it starts to get a little redundant.
It's a great thriller or mystery, but on another level it's a film about the fact that, if you only look at a person through one lens, or only believe what you're told, you can often miss the truth that is staring you in the face.
The dedication of Don Winslow's novel 'The Cartel' is nearly two pages long: a list of journalists who were either murdered or 'disappeared' in Mexico between 2004 and 2012 - the period covered in this hugely hypnotic new thriller.
The most distinguishing element of my novels is that I try as hard as I can - within the context of a popular commercial thriller - to make them feel authentic. Drawing on real locations and real events is part of that authenticity.
There are moments in 'Body Snatchers' that touch the sort of thing that I find scary... like isolation and the inability to trust even familiar things. But - is that a horror movie - or a thriller? I don't really know the difference.
If you're going to reach for it, reach all the way for it. Albums like 'Purple Rain' and 'Thriller' and those kind of records, you had to reach far above the din of cynicism and modern living to get to that place, against all the odds.
I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I'd wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.
A western audience might not appreciate 'Chanakya's Chant' because of its dependence on history and ancient statecraft. My book is a modern-day thriller that draws on a bedrock of history. My primary object is to entertain, not educate.
'A Just Defiance' has been a huge success in South Africa. While reading at times like a well-written thriller, its significance is to reveal apartheid to have been far more brutal, ruthless, and self-serving even than we had suspected.
I believe thrillers work if the story is good. It is not easy to make a thriller because the audience is making their own story in their minds as they watch the film. You have to break that expectation and still make them like the film.
What you don't see is scarier than what you do. Categorization is always kind of arbitrary, but people have called 'Preservation' a 'psychological thriller.' To me, psychological thriller basically means 'a horror movie without the blood.'
I made the decision that I didn't want to spend my life in rooms and write about rooms, or else make books that are researched constructs. I think you do have to get out there and live it. Thriller and genre writers seem to understand this.
Thomas Pynchon surely inaugurated or crystallized a new genre in 1963 when he published 'V.' The seriocomic mystery or thriller with one foot set in the present and one in various historical eras received its postmodern baptism from Pynchon.
As Ralph's character begins to discover the political thriller aspect of the film, he falls deeper in love with his wife, so the two run together. That's the beauty of this film. It has fast pace and excitement, but it also has heart and soul.
When I started writing the third book, 'The Kill,' the intention was just to write a thriller, a crime novel for myself, really, in which there would be no body, no solution - where you would look at an event from different people's perspectives.
If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.
The danger of writing a so-called thriller is that in your last 100 pages, all of these really interesting characters you've created are just running away from something or toward something, but they're no longer capable of innovation or discovery.
A mystery is a whodunit. You know what happened, but not how or who's behind it. A thriller, or a suspense, is a howdunit. You know what happened, and you usually know who did it, but you keep reading because you want to know how they pulled it off.
'Among Friends' was really well written and had strong characters, and while all the elements were there to make it a great genre film, it also left room for me to put a creative flair on it that wasn't your typical slasher or psychological thriller.
Francois Truffaut's 'The Soft Skin' starts with a very mundane scene of a family and a man driving to the airport. Yet the music is like a thriller, and you don't understand why. It's not until later that you learn it's because the movie is a thriller.