A Quote by Terrence Rafferty

Henri-Georges Clouzot's cool, clammy, twisty 1955 thriller Diabolique is an almost perfect movie about a very nearly perfect murder, a film in which the artist's methods and the killers' are ideally matched, equal in cunning and in ruthlessness. The screenplay, adapted by Clouzot and three other writers from a novel by the crack French crime-fiction team of Pierre Boileau and Thomas Narcejac, is a fantastically elaborate piece of contrivance, but the scrupulous realism of the direction makes the unnatural tale somehow feel entirely likely.
I think what women are doing to themselves is that they're seeing these different images of perfection - the perfect wife, the perfect mother, the perfect career person, the perfect movie star - and they're somehow thinking that they should be all of these things, and that's the problem.
What was always interesting about Thomas Harris' books is they were a wonderful hybridization of a crime thriller and a horror movie.
To me, the ultimate crime in an adaptation is the crime of reverence. A novel is one form of media, a screenplay is another, and a movie is yet another. There's even reverence to a screenplay.
French girls don't care about the perfect look; we actually like when it's not perfect because that's what makes our style effortless.
We are honest about our methods and our mistakes. We are not perfect - it isn't possible to be perfect - but we are trying to go in the right direction and in those circumstances, it's best not to mystify what we are trying to do.
He [Taika Watiti] worked on this screenplay for a couple of years and just getting it right and the result is there. He's made really close to a perfect film [Hunt for the Wilderpeople]... Perfect as you can be.
The fiction I've written and published is certainly inflected by the work of authors I was reading or translating at the time. One of my methods for developing my own voice in fiction, a process I am taking very slowly and deliberately, is through these very intense encounters with certain writers. Strength and power in fiction is being able to resist these intoxicating voices, recognizing that they are the signatures of other writers and not one's own.
Many Scandinavian writers who had made their name in literary fiction felt they wanted to have a go at the crime novel to show they could compete with the best. If Salman Rushdie had been Norwegian, he would definitely have written at least one thriller.
My greatest sense comes from the experience of performing in the movie. When I have a great experience, that becomes a perfect movie. If it makes a nickel, it's still perfect. The same is true with a movie that's a bad experience. If it makes a bejillion dollars, I will hate it till the end of time.
I want to go against the best fighters. That's why I'm always calling out Georges St-Pierre. I don't have anything against Georges St-Pierre. I think he's a great fighter.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
I've wanted to make a film about French youth since I went to Cannes with my first film 'Kids' in 1995 ... Scribe's screenplay is about French kids today, and the world today. Just like my films 'Kids' and 'Ken Park', this will be a movie like you have never seen before.
If we're trying to get the perfect house, the perfect relationship or the perfect job, it's likely there's some kind of fear driving us beyond the natural wish to improve. It's really the refusal to acknowledge that life - including ourselves - is simply not perfect.
I read a blog about this young filmmaker in the Philippines who made a short film, and one of the characters in the film reads my novel and then starts discussing the novel with someone. The idea that my book can inspire another artist and be part of that other artist's work... that's the reason I write.
Writing a new film about cereal killers. Not serial killers, cereal killers. The main character can eat two, three boxes at a time.
The perfect life, the perfect lie, I realised after Christmas, is one which prevents you from doing that which you would ideally have done (painted, say, or written unpublishable poetry) but which, in fact, you have no wish to do. People need to feel that they have been thwarted by circumstances from pursuing the life which, had they led it, they would not have wanted; whereas the life they really want is precisely a compound of all those thwarting circumstances.
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