A Quote by Lee Child

Everything you could want - action, suspense, character and setting, all floating on the easy lyricism of a fine writer at the top of his game. — © Lee Child
Everything you could want - action, suspense, character and setting, all floating on the easy lyricism of a fine writer at the top of his game.
I define a thriller as a big-stakes, multiple-viewpoint novel involving suspense, action, and mystery, in which the reader doesn't know everything but usually knows more than any single character.
I am more of a suspense writer. A mystery writer solves mysteries. I am a high suspense writer.
If I could reincarnate as another player, I might want to reincarnate as Thierry Henry at the top of his game.
I can't trace thematic similarities between Then We Came To The End and The Unnamed to a life event; I think it's more just a natural progression as a writer. Everything changes in the second book - tonally, character-wise, situationally - and on top of that, I think I wanted a challenge. I wanted to see if I could do it.
My favorite hotel is the Villa Alilla in Bali. The setting is pure bliss, overlooking the ocean of Uluwatu; the eye line makes you feel as if you're floating on top of the ocean.
My favorite hotel is the Villa Alilla in Bali. The setting is pure bliss, overlooking the ocean of Uluwhatu; the eye line makes you feel as if you're floating on top of the ocean.
People would say, "Well yeah, if I wrote action films, if I wrote the trash that you write, I could make millions too. But I want to write my real movie about these Guatemalan immigrants, and how they hid under a truck for 300 miles." And that's fine. I'd love to make that film too, but to dismiss everything I did just because it's action seems wrong.
I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.
To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.
For me, to take a movie and travel the world and go and work with these cultures and an international cast and have this spy thriller that's not just about character but also action and suspense, they're very challenging films as a producer to make, creating stories, creating set pieces that serve this character [Ethan Hunt].
There is much to admire in Peter Brett's writing, and his concept is brilliant. There's action and suspense all the way.
I don't want to do action that doesn't mean anything. Everything I do I want to have character development and three-dimensional characters, fallible humans, and this is definitely one of them.
If [the writer] achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine.
I think a lot of action films, and I'm just saying this as a moviegoer, the default setting on action films seems to be how could it be cooler?
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
The Australian way of affirmative action is setting goals and recognising discrimination and lack of opportunity and deciding to take action and setting some goals and targets. I guess I prefer that language to talking about quotas.
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