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.
[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.
I think the thriller aspect of this film [Fifty Shades Darker] is what excited me most.
I was 21, when I heard the story that inspired this [thriller Allied], and I wasn't even a screenwriter then.
We thought by setting the film ["Selling Isobel"] in the cloak of... let's call it an indie-Hollywood thriller, it would appeal to a wider range of young women who would see this cautionary tale and say, "Hang on, I've got to think twice about what I get myself into."
The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."
I love thrillers. I would even read certain science fiction, although I haven't been a devotee for many years.
I think it's very interesting for a director that enjoys thrillers and mysteries like I do to have the challenge to do that.
The situation that women were in, at the time, was something that Dumas doesn't really go into, but it's a great subject to look at. It's a great genre because you can do a lot. Sometimes in thrillers, you can really explore things, and it's the same in this genre.
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've seen many films and read lots of thrillers - and I'm always disappointed that I can guess the story before the other viewers.
I like lassic British spy thrillers. Seriously. If the cold war was still on, that's something I'd be writing.
I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.
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.
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.
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.
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.
The strongest human emotion is fear. It's the essence of any good thriller that, for a little while, you believe in the boogeyman.
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.
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.
You could call it that [urban Western], I guess, you could certainly call it that. A lot of these types of films are, really, if you get down to the core most suspense thrillers in this genre, the Western is sort of the birth of it all.
I didn't think that and I didn't verbalize that to myself or within meetings that we ever had, but we wanted to make a hard-nosed, gritty, realistic spy thriller. Roger talked about using lenses. He shot hi-def, but using anamorphic lenses that he'd found from this warehouse. He was so thrilled with that. Him and Romain [Lacourbas] were just like kids in a toy store with their lenses.
When you're making a psychological thriller, what you need to do is have an audience on shifting sand so they're never quite sure where they are.
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