Thomas Sadoski Quotes

I remember watching episodes of 'The Sopranos' and being filled with dread knowing what was coming or anticipating what was coming. I don't think that that's always a bad thing. I think sometimes the audience needs a little catharsis held away from them.

Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.

If the question was did we want to delay the revelation?... Yeah, you want to delay it as long as possible because the audience knows that that moment is coming and you want to make them wait for it. They have to suffer a bit.

A lot of shows peak after a series and never get it back, but 'Breaking Bad' keeps the tension up all the time.

On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.

We like drama. Even in our comedy, we like drama.

Conflict and character are the heart of good fiction, and good mystery has both of those in spades.

One of the things that makes any good entertainment, whether it's a play, drama, comedy, television, film, whatever, is that you feel a certain amount of spontaneity.

At the heart of drama is conflict.

Tension is the cornerstone of any good story.

I love the characters not knowing everything and the reader knowing more than them. There's more mischief in that and more room for seriousness, too.

Tension is all about, 'Why is this taking so long?' The interesting thing about that is that it's also the tension of comedy. The tension of drama and comedy is similar, and that's why usually you can get a big laugh in a really tense moment because people need that release.

Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?'

When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.

The key to a good horror movie is what happens between the scares. The scares aren't the tricky part. If you're involved in what's going on in between, the scare is going to trick you. If you're not, the best scare in the world will not be scary.

One of the wonderful things about 'Power' and why fans often say it makes their heart race is it's set up like a horror film because the audience is, like, four or five steps ahead of the characters.

I love a bit of drama.

If we can continue to tell stories where fans don't know what will happen next, I think that will be a plus in this 'Divas Revolution.'

Building and sustaining tension is always my priority, so home entertainment provides challenges to that.

I mean, I find drama to be engaging and it makes your blood pressure go up and you keep watching, but it's not as entertaining as, say, comedy.

People don't come to the theatres to watch a kiss. It's the story that appeals to them.

We need the villain sometimes. It makes for an interesting story.

I always find with dramas that the more that's left to the imagination of the audience, the better.

I feel, in drama, you don't need to be fed everything. Even though sometimes when you watch, you want to know what happened and you want to see it, I feel like sometimes it's so much stronger to see the effects that those actions have had.

I think once you do the unexpected, and you take the viewers to a position of discomfort about being able to rely on characters surviving, then it does completely affect the way in which the drama is viewed.