A Quote by Sam Esmail

Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension. — © Sam Esmail
Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.
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.
I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.
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.
I think the most important part of storytelling is tension. It's the constant tension of suspense that in a sense mirrors life, because nobody knows what's going to happen three hours from now.
...But I don't think I'm the only person who is tired of books and movies full of paper-doll characters you don't care about, who have no self-respect and no respect for anybody or any institution....And I don't want to sound preachy or Victorian, but I'm tired of amorality in fiction and in real life. Immorality is a fascinating human dilemma that creates suspense for the readers and tension for the characters, but where is the tension in an amoral situation? When people have no personal code, nothing is threatening and nothing is meaningful.
I like the idea of building the suspense and taking it all the way up to the very last second with the suspense, and right when you think you can't take it anymore, then you come in with the joke and kind of break the tension. To me, that's the best kind of film. I like thrillers, so thrillers with comedy, to me, is always the best.
I always take care to have interesting chord progressions, because you can have the best sound design in the club, and you'll kill it in the club, but in five years, kids will have better sound design. But if your music is good, you'll always be able to listen to it, even in 20 or 50 years.
The very name of the thriller '89' suggests that there is suspense.
It seems that most the world is driven by the eye, right? They design cities to look great but they always sound horrible ... They design telephones to look great, but they sound horrible. I think it was about time that the other senses were celebrated.
'Without a Trace' analyzes criminal behavior in the special context of a disappearance. We consider it a suspense thriller.
You know music and sound design can be very powerful with how you use it but also the absence of sound can say a lot as well.
I'm a big fan of suspense and tension filmmaking, and that was my goal with 'The Conjuring.'
I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.
An awful lot of thriller writers write women rather badly. So just doing it OK gets a lot of credit.
Sound and sound design has always been very important to my approach to film, because it is a more subversive and allusive aspect of the medium.
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