The action movie, the thriller and the drama all have safety nets under them. But not the horror film. The horror film can sink to an abyss far darker than the imagination can ever reach.
I have never written a book that I wouldn't want to read. The trouble is, I love to read horror, sf, fantasy, mysteries, hero pulps - romantic fiction, in the original, traditional meaning of that term, as opposed to mimetic fiction. But most of all, I love thrillers.
I define a thriller as a big-stakes, multiple-viewpoint novel involving suspense, action, and mystery, in which the reader doesn't know everything but usually knows more than any single character.
I thought it would be quite a challenge to direct a mystery thriller. I hadn't really done something like that.
I had an idea for a medical conspiracy thriller. Since it was non-horror, I didn't want the publishers and editors bringing a lot of baggage - my history as a genre writer in the SF and horror fields, for instance - to the novel when they read it. I wanted them to consider the book solely on its own merits. So I called myself Colin Andrews. I was tired of seeing my books at floor level. Not that Herman Wouk and Phyllis Whitney and William Wharton are bad company, but I wanted to be up at eye level for a change, where people with bad backs could get a chance to see my books.
My first obligation is to entertain but as far as science fiction goes, it's much easier to comment on today from another time because people then aren't focused on 'did you get the details right?' It's sort of a Trojan horse approach to ideas because it's wrapped in the future, it's wrapped in action, thriller.
I had some very, very fond memories of the people I worked with and the authors I worked with - and I won't mention any names - but as I have been traveling through rural Maine over the past few weeks, one of my favorite things to do is to go into bookstores on the side of rural routes and paw through the old copies of Tom Clancy and Trevanian books they have in there for weird old 1970s thrillers that I haven't read yet.
I storyboard every shot of my thrillers in general. I draw them out and do them.
There are certain tenets set in place for all different types on genres. For thrillers, women usually die first.
I try to write about complex issues--young people in an adult world-- full of irony and contradiction in a narrative style that relies heavily on suspense with a texture rich in emotion and imagery. I take a great deal of satisfaction in using popular forms-- the adventure, the mystery, the thriller-- so as to hold my reader with the sheer pleasure of a good story. At the same time I try to resolve my books with an ambiguity that compels engagement. In short, I want my readers to feel, to think, sometimes to laugh. But most of all I want them to enjoy a good read.
Writing an informative yet compact thriller is a lot like making maple sugar candy. You have to tap hundreds of trees - boil vats and vats of raw sap - evaporate the water - and keep boiling until you've distilled a tiny nugget that encapsulates the essence.
The strongest human emotion is fear. It's the essence of any good thriller that, for a little while, you believe in the boogeyman.
I read nonfiction almost exclusively - both for research and also for pleasure. When I read fiction, it's almost always in the thriller genre, and it needs to rivet me in the opening few chapters.
Kickback is a police thriller which I wrote. I'm very proud of it. I did it in two parts for France because when I wrote it, there wasn't the audience demand for crime stuff that there is now.
Critics have found in the narrative a veneer of erudition that cloaks nothing more than a James Bond-style romp, albeit a highly addictive one. His publisher has described it as 'a thriller for people who don't like thrillers'. One newspaper put it thus: 'It is terribly written, its characters are cardboard cutouts, the dialogue is excruciating in places and, a bit like a computer manual, everything is overstated and repeated - but it is impossible to put the bloody thing down.
I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.
I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.
I like lassic British spy thrillers. Seriously. If the cold war was still on, that's something I'd be writing.
I've seen many films and read lots of thrillers - and I'm always disappointed that I can guess the story before the other viewers.
It's the comedies and thrillers that are successful. People love horror, but in thrillers. Once you speak of pain and suffering it's a different matter.
I like speed in thrillers. It's a rhythm adapted to the subject.
About my work, my first film, Écoute le Temps (Fissures), was positioned by distributors as a thriller because they thought that it would sell more easily. But it was surely a mistake, as that kind of viewer did not take the bait, and it drew away its potential core audience, those whom I met in festivals and in various Q&As who seem to appreciate that particular kind of cross-over arthouse film.
I think there are certain tenets set in place for all different types on genres. For thrillers, women usually die first. I can't say exactly why, and it's kind of a bummer... But I also can't explain why the wallflower girl in the romantic comedy always gets the guy in the end. That's just the way those movies go.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
I have an agent in Hollywood and he's looking for material. If I get the offer and I feel I relate to that material, I will do it. I would love to do a horror film, a thriller, a tearjerker... I like diversity. I would just like to sustain my sense of humour!
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