One of my favorite authors to read is Eric Ambler, who helped pioneer the form of realistic suspense novels.
Suspense is a real tough beast in terms of the filmmaking.
I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?
The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.
I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
I believe that the writer should tell a story. I believe in plot. I believe in creating characters and suspense.
I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.
I've said in many interviews that I like my fiction to be unpredictable. I like there to be considerable suspense.
For me, suspense is always harder and better than going for the quick, outright scare.
I think suspense is a big thing.
