Sarah Weinman Quotes

The dark book has been terribly popular. Dark characters, dysfunction, and all sorts of things from reality that are true in our world.

I'd like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!

'The Oath' seems like the perfect project for me, coming off the back of a big-scale adventure film like 'Everest.' I want to delve into an intimate, dark and psychological world where the characters are claustrophobic.

There's this film called 'The Pledge', with Jack Nicholson in it. Now that's a dark film.

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.

The fact is that most crime novels contain a good many punchlines. They are just rather darker than the ones you might hear in a comedy club.

British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography.

I like French films, Chabrol in particular. With him, you often get a skewed morality in which you sympathise with the person you shouldn't.

I like devilish, thorny, dirty, mean roles, muck and mire, unbelievably sad, unbelievably happy, burdened. Inner conflict - that's where drama is.

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.

Maybe I'm a little biased, but shows like 'Dexter' and 'Southland,' I'm just enthralled by that sort of storytelling, kind of clever and patient.

The best crime novels are all based on people keeping secrets. All lying - you may think a lie is harmless, but you put them all together and there's a calamity.

The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.

John le Carre's 'The Night Manager' is a relentlessly exhilarating thriller with profound emotional depths.

'What Was She Thinking? Notes on a Scandal' was thrilling in its light, deceptive tone, its subtle but irresistible momentum.

Good writers know that crime is an entre into telling a greater story about character. Good crime writing holds up a mirror to the readers and reflects in a darker light the world in which they live.

I love 'Shattered Glass.' It's one of my favorite movies. I think it's just brilliant.

Irish novelist John Banville has a creepy, introverted imagination.

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.

Reading Dorothy B. Hughes's novel 'In a Lonely Place' for the first time is like finding the long-lost final piece to an enormous puzzle. Within its Spanish bungalows, its eucalyptus-scented shadows, you feel as though you've discovered a delicious and dark secret, a tantalizing page-turner with sneakily subversive undercurrents.

'Rosemary's Baby' is one of my all-time favorite books. I love that it just ends with, you know, 'Hey, the devil's in the world, and guess what? Mom kind of likes him!' And that's the end.

I am a huge fan of shows like 'Breaking Bad,' 'Dexter,' 'The Mentalist.'

When I read 'Meadowland,' I could see the potential for a very internal, quiet story that could be powerful and emotional but also disturbing and dark.

With the police thriller genre, people come to it with an expectation. It allows you to get away with a bit of violence, edginess, darkness.

Badlapur' is a drama, a character-driven story. It is not so much about plot.