A Quote by Jeffery Deaver
Ideally, I like to integrate the human issues into the suspense story itself.
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One of the challenges, especially since, like, something like 40 percent of the Latino population is foreign born, is - and one of the new issues is how do we integrate all these immigrants, right?
Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.
The story of Noah, like other stories in the first 11 chapters of Genesis, are archetypal. Noah's story tells us that human beings have an inherent tendency towards violence both towards their fellow human beings and towards the creation itself. The story tells us that this violence grieves God.
What I like about the Carpenter take on The Thing is the fact that it just has so much suspense. It seemed like a different story, with the horror elements. Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That's the really scary thing, not the slasher, macabre movies.
It's my opinion that if you're trying to tell a realistic story that centers around realistic characters, you can't help but touch on important issues. Those issues are what make us human.
I read what I like to write: romantic suspense. I also love thrillers and novels of suspense, but I can't handle extreme violence and torture.
What I like about the Carpenter take on 'The Thing' is the fact that it just has so much suspense. It seemed like a different story, with the horror elements.
One of the greatest sins in any story is false suspense. The kind of 'suspense' that disintegrates the moment you give your reader one second to think about it. And it's an easy trap to fall into, so watch carefully for it. If your story hinges on the question, 'Will Superman be pushed so far in his battle against Lex Luthor that he'll have to kill him?', or if your big cliffhanger moment is, 'Wow, is Spider-Man really dead this time?', then I understand Food Lion is hiring.
Ideally, anything one writes should have a social conscience: if you can write a story that thrills, and with a good message, that's the perfect type of a story.
When you read a supernatural suspense story or a ghost story, or a horror story, the evil at play is something that you can dismiss. And I wonder if, in this time, if people really want to be sitting on the subway reading a book about someone releasing a dirty bomb on the subway.
I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.
I don't want to be like other authors and say that there are only a few story lines in literature. A story is like a human face. We have as many stories as human faces. You might have similar facial features, but they're all a little different.
Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.
There are issues of war and peace. And then, there are issues of life and death like this one that are no less morally compelling than war itself.
Remember that [scientific thought] is the guide of action; that the truth which it arrives at is not that which we can ideally contemplate without error, but that which we may act upon without fear; and you cannot fail to see that scientific thought is not an accompaniment or condition of human progress, but human progress itself.
How do you cut off the human side and just maintain being professional? So what I've done is I've incorporated that with Kojak - there's times when he allows the human condition, the human experience, to integrate into him as a professional.
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