A Quote by Jon Watts
There's a lot of similarities, I think, between a thriller and a comedy because it's all about tension. It's about building tension and setups and payoffs and misdirections and surprising people and sort of pushing the boundary.
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Tension is all about, 'Why is this taking so long?' The interesting thing about that is that it's also the tension of comedy. The tension of drama and comedy is similar, and that's why usually you can get a big laugh in a really tense moment because people need that release.
If comedy is about surprises, about tension, there's a lot of tension and surprise there, in the fact that people are expecting this to be natural.
One of the interesting things about comedy is it's tension release, and nothing creates tension faster than anger.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
The tension between the governed and the governing is what makes the world go 'round. It's not love, it's that tension, because that tension exists in love affairs. The whole idea of control is at the heart of human relationships. Control and resistance to control.
As I like to say to the people in Montgomery: "The tension in this city is not between white people and Negro people. The tension is, at bottom, between justice and injustice, between the forces of light and the forces of darkness.
You get into comedy because you are insecure, and you communicate with the world through comedy to sort of alleviate the tension of those insecurities and to find a way to make people like you other than the way you look or how good you are at sports. I don't think that really goes away.
I actually find something rewarding about that tension between satisfying myself and satisfying others. Because first of all, I can't provide my own structure, and that tension provides a structure for me to actually work within.
I think the whole tension about romanticism is the way it builds and builds, and the moment it's consummated, the tension's over.
There's always a tension between those who would like to garner wealth, and they contribute a lot to society. There's also those who say, 'I believe in the common good. I want that to be enlarged.' They contribute a lot to society. The tension, the debate, between these two views is extremely important to our progress.
The 'Moonlighting' tension of the couple that obviously never can get together, there's an innate sort of fun and tension in that.
'Fargo' is a tragedy with a happy ending. So you need to have that tragic underpinning, that all of this could be avoidable, and that's what makes it tragic. It's about the use of violence, and the fact that the tension in anticipation of violence and the tension in anticipation of a laugh are sort of the same.
The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.
For me it's about creating and sustaining tension for as long as possible, and I'm not generally interested in allowing that tension to be deflated, especially by a jump scare.
Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.
There's definitely a tension between the way teaching is talked about and understood at the political level and how everyday average Americans think about teachers.
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