A Quote by Nina Tassler

'Without a Trace' analyzes criminal behavior in the special context of a disappearance. We consider it a suspense thriller. — © Nina Tassler
'Without a Trace' analyzes criminal behavior in the special context of a disappearance. We consider it a suspense thriller.
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.
It is unlike the quintessential thriller where someone is up to something and the audience is speculating. 'Johnny Gaddaar' is the opposite of a thriller. In this case, the audience knows right from the outset what transpires and who the likely culprit is. It is a suspense caper.
But the disappearance of the effort to let go is precisely the disappearance of the separate thinker, of the ego trying to watch the mind without interfering.
The very name of the thriller '89' suggests that there is suspense.
In existing criminology there are concepts: a criminal man, a criminal profession, a criminal society, a criminal sect, and a criminal tribe, but there is no concept of a criminal state, or a criminal government, or criminal legislation. Consequently what is often regarded as "political" activity is in fact a criminal activity.
Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.
I like a good suspense thriller when it's smart and well done like 'Armed Response' is.
The term 'psychological thriller' is an elastic one these days, tagged liberally on to any story of suspense that explores motivations while keeping blood and chainsaws to a minimum.
The Orlando terrorist is an example of someone who was in the sights of law enforcement but never crossed the threshold from pre-criminal to criminal behavior and, thus, was not tracked adequately before this horrific act.
Without context, things are not scary. Without context, like humor, horror doesn't work.
'Avunu' is a thriller, suspense film set within a small family with a good mix of scary and funny moments, but not a horror film.
I believe the earth gets warmer, and I also believe the earth gets cooler, and I think history points out that it does that and that the idea that man through the production of CO2 which is a trace gas in the atmosphere and the manmade part of that trace gas is itself a trace gas is somehow responsible for climate change is, I think, just patently absurd when you consider all of the other factors.
Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.
We are the only living creatures who can create a context, and as far as we know, everything else can only follow a context, without recognizing the context as such. Herein lies the source of creativity and the genuinely new.
To answer that I have to describe what I think is my responsibility as a thriller writer: To give my readers the most exciting roller coaster ride of a suspense story I can possibly think of.
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.
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