A Quote by John McTiernan

In a thriller, the camera's an active narrator, or can be. — © John McTiernan
In a thriller, the camera's an active narrator, or can be.
I think every narrator is an unreliable narrator. In its classic definition - an unreliable narrator is one who reveals something they don't know themselves to be revealing. We all do that.
I can use the camera to make a place or landscape; the camera to a greater extent projects rather than takes in or reproduces. The camera, or, rather, the eye, produces the impression of the place: I as a photographer am not passively taking in; I am active as a subject generating the object.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.
I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
The thing I love about Dickens is the omniscient, omnipotent narrator, and the great confidence of the narrator, which marks 19th-century novelists in general and Dickens in particular.
I define 'social thriller' as thriller/horror movies where the ultimate villain is society.
Well, if you're writing a thriller, you have to have your character in mortal jeopardy on page 1 or it's not a thriller.
This is not an international thriller so much as a fiercely literate attempt to subvert the thriller genre itself.
When someone walks in and you say "a six-foot-tall man," you miss the opportunity to describe what a six-foot-tall man would look like to your narrator, because how the narrator describes a six-foot-tall man says more about the narrator than about the man.
Typically in my novels the narrator tells a story by remembering, and the memories are colored by this and colored by that. So the whole universe of the novel tends to be framed by the narrator's memories and thoughts.
When I was a teenager, I used to watch the 'Making Michael Jackson's 'Thriller'' video and try to follow the steps and do the 'Thriller' moves in my bedroom. That was the most incredible dance sequence.
Even in a manuscript form, 'The Girl on the Train' sort of leapt off the pages as a contemporary suspense drama-slash-thriller. It has all the mechanics of a thriller, but at the heart of it was a great character study.
The stigma that used to exist many years ago, that actors from film don't do television, seems to have disappeared. That camera doesn't know it's a TV camera... or even a streaming camera. It's just a camera.
Political thriller? International thriller? Financial thriller? Whatever you call it, The Ascendant is smart, edgy, fast-paced storytelling at its best. Its unlikely hero, Garrett Reilly, reminded me of a young Jack Reacher as a tech-sa What I said: “Political thriller? International thriller? Financial thriller? Whatever you call it, The Ascendant is smart, edgy, fast-paced storytelling at its best. Its unlikely hero, Garrett Reilly, reminded me of a young Jack Reacher as a tech-savvy bond analyst. Drew Chapman is a debut novelist to watch.
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