A Quote by Emily Watson
I think so, Silence of the Lambs was a great, suspenseful thriller and I would expect Red Dragon to be similar. And I think it's very character driven.
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After The Silence of the Lambs and Hannibal, the audience would like to know where, when, and who arrests Hannibal Lecter for the first time. This is the story of Red Dragon.
When I'm channel surfing, and 'Silence of the Lambs' comes on, I have trouble turning it off. I wouldn't say that about 'Beautiful Mind.' It's a good movie, but I'm much more in awe of what Jonathan Demme did with 'Silence of the Lambs.'
The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.
I think one of the things that was a huge surprise to everyone with 'Silence of the Lambs' was that that was an Oscar-winning horror movie. It struck such a nerve with audiences that it was a very particular, special experience.
I think the only thing that we know how to do is look at our characters and ask what is the character doing right now and what do we need to do, and tell it from that place. If we really make it character driven and theme driven, I think we're going to offer up something new for the audience.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
By the time I got to 'Silence of the Lambs,' I was madly in love with close-ups because I'm madly in love with actors, and a basic premise of 'Silence of the Lambs' is the story about two people fighting their way into each other's heads.
I wouldn't think of my characters' moralities at all. And I think I identify fully with every main character I've written about and would say that I am them pretty much. So in terms of that I don't think I'm similar to Bret Easton Ellis .
You might be a redneck if you think Silence of the Lambs is what happens when Larry walks out to the barn.
I read 'Red Dragon' back in high school. I love Thomas Harris' approach to the crime thriller that crossed over into horror in a way that nobody really tapped into.
When I finished playing, I didn't think I would be able to replace the buzz you feel at kick-off, but when the light on top of the camera turns red, and you're about to go live to the nation, it is a very similar feeling.
Did Anthony Hopkins really have to be a serial killer to be in 'Silence of the Lambs?,' I don't think so, no. It's called acting, people.
The great thing about playing a character that's similar to the audience, or similar to you, is that you get to have the same reaction that you would actually have to whatever's going on.
I don't wear a lot of color. In fact, I don't actually like color on myself. I love color but it's very challenging, it's very powerful, it can overpower you. I think if my eyes were closed and someone put a red jacket on me, I would be able to feel that it was red. I don't feel great in color.
I love making people laugh, and to be able to be that humorous character was great. And I actually was very similar to Neville Longbottom. I was very shy and chubby-cheeked. I wasn't bullied at school, but I wasn't particularly outgoing. We were similar. And so I loved playing him.
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.
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