For me, the thing that I love about the show is the psychological thriller aspect of it. It's frightening and it's scary, and there are all these things that happen. You have these really dramatic scenes, and then you get in a scene with him and I can't tell you how many times I would start cracking up.
I love the psychological thriller piece of it. Because we are trapped in this isolated environment with a deadly virus, what's really interesting is that everyone's darkness comes out because we've got these life-and-death stakes going on. And then, there're these interesting relationships going on, but we can't quite deal with the relationship right now because we've got something better to do, which is survive.
After having edited numerous shorts, earning award nominations for it, and then 4 features edits, the director inside me is now burning to share its voice. Thriller, Horror, zany Comedy.
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.
I am not really interested in the comic book movies for example. They send me very violent scripts that don't interest me. One I was sent involved me playing a woman, a mother and wife who gets killed, shot in the stomach. It was a thriller and it did not excite me at all. So I turned it down.
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.
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.
Its the details and the human element that makes Recount entertaining. Even though we know how the election ends, it plays like a thriller. Its also funny.
If you can get the audience to talk to the screen, I just thought that was so cool, and I wanted to do that. And I just leaned towards the scary and the thriller. I find it very emotional. I want to make emotional horror. If I can make you cry, than you have a full experience.
The thriller is the most popular literary genre of the 20th century.
An awful lot of thriller writers write women rather badly. So just doing it OK gets a lot of credit.
Movies have influenced all writers, not just thriller writers.
Thrillers have been traditionally very masculine books; the women characters often rather decorative.
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.
There are certain tenets set in place for all different types on genres. For thrillers, women usually die first.
The thriller genre in general, it's total foreign ground for me.
I have never done a thriller, and it will just be really fun for me to heave and pant and run and climb and break windows and scream every once in a while
I think that when you're constructing entertainment; thrillers, horror movies, or anything that's gonna scare, they're all based on what our natural worries are.
I love fantasy. I love thrillers. I love action. I'm all over the place. As long as the story and characters are good, I'll love it.
The intricacy of plotting a thriller is akin to writing formal poetry.
The Strokes can play anything. They could play 'Thriller,' and it would just sound like 'Thriller' as played by the Strokes.
Id like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!
If it's comedy, you taken an absurd comedic notion and you apply it to reality. If it's horror, if it's a thriller, you do the same thing.
For me, the social thriller is the thriller in which the fears, the horrors, and the thrills are coming from society. They're coming from the way humans interact.
Allthough that doesn't happen often lately, I like to read exciting thrillers and those kinky magazines.
Mysteries and thrillers are not the same things, though they are literary siblings. Roughly put, I would say the distinction is that mysteries emphasize motive and psychology whereas thrillers rely more heavily on action and plot.
Thrillers are an enormous amount of fun for filmmakers.
Before I did any action movies, I did a couple of thrillers. That's hung around for me.
In a thriller, the camera's an active narrator, or can be.
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.
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 think it is immensely difficult to get the U.S. interested in non-U.S. topics. I dont think this is because the average American reader is disinterested, but more because of publishers playing it safe: if a thriller based in L.A. is a sure winner, why spend money plugging one based in Paris - or Bangkok?
I got into reading a lot of noir and a lot of thrillers as well, and I really admired the plotting about those and the way that they can surprise you. And obviously to surprise people and to have twists in the tale, you have to plan quite carefully.
Many Scandinavian writers who had made their name in literary fiction felt they wanted to have a go at the crime novel to show they could compete with the best. If Salman Rushdie had been Norwegian, he would definitely have written at least one thriller.
Thanks to the success of Henning Mankell and Peter Hoeg, there wasn't the same stigma attached to writing genre thrillers in Scandinavia as there was in many other cultures. Quite the opposite, in fact.
More and more, I play myself, as I get older. Even as a writer, I never got typecast. I've always bounced from project to project, or initiated my own things. I was never known as the guy who wrote romantic comedies or sci-fi, or whatever, but that's fun to me. The first two films I ever had made, as a writer, were both thrillers, which was great. There was nothing funny about either of them, or not intentionally. I actually love that.
Life is a musical influence in my experience. But as far as actual music and actual bands, uh, I'll just look at my little collection here. Let's see. Bob Dylan, The Beatles, Pink Floyd, U2, The Talking Heads, Prince and the Revolution, Michael Jackson's Thriller was a huge one.
If you write thrillers or mysteries or horror fiction or quote-unquote speculative fiction, men might read you, and the 'Times' might notice you.
For me a thriller is a very carefully structured story.
Six Seconds is a great read. Echoing Ludlum and Forsythe, author Mofina has penned a big, solid international thriller that grabs your gut - and your heart - in the opening scenes and never lets go.