The movies that made me want to make movies were action movies, and thrillers, and Kurosawa films, you know, where you have an opportunity every day to shoot it in an unusual way. I was looking for something like that.
I don't like writing straight-up thrillers. I like writing about families hurled into crisis and danger - soccer moms and regular dads and husbands who might have to rescue their daughters or who are, say, hedge fund managers and have one foot on the sidelines watching their kids and the other in nefarious cover-ups and conspiracies.
I love horror, I love scary movies, I love thrillers. If things creep you out and spook you? I love it.
I don't get a chance to be funny with the thrillers. I like to be funny, and I think I am really funny. So with 'Middle School: The Worst Years of My Life', it was fun to let loose.
You can't do psychological thrillers. There's no audience. I've heard this. I've heard this from studios.
I think so, Silence of the Lambs was a great, suspenseful thriller and I would expect Red Dragon to be similar. And I think it's very character driven.
I'd have liked to have leant against walls in thrillers.
For me, a good thriller must teach me something about the real world. Thrillers like 'Coma,' 'The Hunt for Red October' and 'The Firm' all captivated me by providing glimpses into realms about which I knew very little - medical science, submarine technology and the law.
For me, a good thriller must teach me something about the real world.
Thrillers are like life, more like life than you are.
Thrillers have been traditionally very masculine books; the women characters often rather decorative.
The intricacy of plotting a thriller is akin to writing formal poetry.
As long as thriller authors teach us about our world, they'll be relevant.
I think everyone should read The Girl on The Train, especially if they loved Gone Girl. It's about Rachel, a girl who sees a couple on her commute. Then one day she sees one of the people from the couple kiss another person. The next day they go missing. The story is told by 3 different perspectives, all characters you absolutely can't trust. It's an insane psychological thriller that's seriously addicting and the kind of book you can't put down.
The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.
I'm more of a thriller-horror fan - things that could really happen. I don't like scary movies, the 'Saw' movies scare the crap out of me - I think I've seen two of them and I wanted to go crawl in a hole.
No Way Back is my kind of novel - a tough, taut thriller - Mofina knows the world he writes about.
About as close you can get to the perfect cerebral thriller: searingly smart, ridiculously funny, and fast as hell... I defy anybody to read the first page and not keep going to the last.
Redford builds a riveting, resonant political thriller that values the complexity of its characters and the intelligence of its audience.
When you're playing the devil, you're playing the ultimate evil. There are no boundaries. In doing a film in the horror genre or a psychological thriller, you're really pushed as an actress, you're pushed way outside of your comfort zone. Emotionally, mentally, and physically. That's when things really get fun.
Throat clutching from the outset! The Never List stands as a sterling example of psychological thriller writing at its best. Cancel appointments and give up on sleep. It's that kind of book.
For me a thriller is a very carefully structured story.
Yes, to me that's one of the most compelling fears in film noir and the psychological thriller genre - that fear of conspiracy. It's definitely something that I have a fear of - not being in control of your own life. I think that's something people can relate to, and those genres are most successful when they derive the material from genuine fears that people have.
A movie is made for an audience and a film is made for both the audience and the film-makers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think, "Wow, this is gonna set the world on fire". These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.
I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it's much deeper characters, I think.
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