A Quote by Susie Dent

Among the best of Hitchcock's own psychological thrillers is 'Spellbound,' whose story unusually wrapped the subject of psychoanalysis around a murder mystery.
Shelley Jackson's 'Half Life' is the textual equivalent of an installation, a multivocal, polymorphous, dialogic, dystopian satire wrapped around a murder mystery wrapped around a bildungsroman.
I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.
My favorite types of movies to watch as a viewer are thrillers - I really have a soft spot for them, I love them. Especially psychological thrillers.
I am a mystery wrapped in an enigma wrapped in a pita. Why the pita? That counts as another mystery.
I like taking genres and subverting them. I did that with 'In the Valley of Elah.' I said, 'Okay, this is just a murder mystery. Relax.' And then, two thirds of the way through, I broke every convention of a murder mystery.
I like taking genres and subverting them. I did that with In the Valley of Elah. I said, "Okay, this is just a murder mystery. Relax." And then, two thirds of the way through, I broke every convention of a murder mystery.
I like thrillers. That's a genre that I'm really taken with. I love Hitchcock, that thriller style. I'm a student of it.
My favorite types of movies definitely aren't thrillers, but at the same time you can't deny the genius of Hitchcock's films.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
I remembered watching the film from Alfred Hitchcock, 'Dial M for Murder,' and he shot almost all of that movie in one room. There was a genius in what Hitchcock did by manipulating things in that room so that you could see the distances between things like the tables and the vases because of how he used perspective.
The artist's job, I think, is to be a conduit for mystery. To intuit it, and recognize that the story-germ has some inherent mystery in it, and sort of midwife that mystery into the story in such a way that it isn't damaged in the process, and may even get heightened or refined.
I really wanted to write an adventure story, a murder-mystery that was set during the gold-rush years in New Zealand.
A good teacher, after all, wields the authority of a parent with none of the psychological baggage. The best of them are semi-mysterious figures whose wisdom seems boundless and whose approval helps us discover who we are.
The show [Shots Fired] is an autopsy of our criminal justice system, a space where the conversation surrounding the issues in our country is offering a seat at the table to all the voices to be heard, a murder mystery, and grassroots look at our own humanity as we move through the parts and pieces of the story.
I think I'll stick with psychological thrillers.
For me, a big part of writing psychological thrillers is choosing crimes committed for motives which would only apply to a particular person in a particular situation; a unique, one-off motive that is born out of someone's particular range of psychological afflictions.
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