Oneohtrix Point Never 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.

Having the audience know more than the characters is precisely where you want to be in terms of drama. You can engage them much more when that is the case.

My favorite types of movies to watch as a viewer are thrillers - I really have a soft spot for them, I love them. Especially psychological thrillers.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

The great thing for me is how Hitchcock uses guilt so well. He implicates the spectator in the character's field, and you really feel it, and there's incredible relief when it comes out right - if it does come out right.

'Rear Window' isn't really a horror film, but it is a psychological drama, which I love. It is very tense.

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 guess there are certain conventions that come with film and with scoring film. So maybe one of those is menace in a lower register. It's trying to evoke some sense of chaos and adventure.

I love writing thrillers.

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

Francois Truffaut's 'The Soft Skin' starts with a very mundane scene of a family and a man driving to the airport. Yet the music is like a thriller, and you don't understand why. It's not until later that you learn it's because the movie is a thriller.

I think good suspense and horror is really about creating situations that are relatable, and throwing a wrench in it and watching how people respond to it.

More often than not, I'm worried about, where shouldn't we have music? Because the tendency is just to put everything everywhere all the time in a lot of movies. You end up just numbing the audience when you do that and it's not the best way to tell a story.

I don't like movies that are too manipulative. A lot of movies thrive on really pushing your buttons and making you hate the villain.

Lasse [Hallström] is really good at emotionally engaging an audience without hitting them over the face with it.

I believe thrillers work if the story is good. It is not easy to make a thriller because the audience is making their own story in their minds as they watch the film. You have to break that expectation and still make them like the film.

Emotionally, light very much influences, I feel, the audience. It's not something that most audience members are conscious of, which is a good thing, because it means as filmmakers, we have the opportunity to gently control an audience into feeling a certain way.

For thrillers, it's especially difficult to carve out a good trailer.

Sound design is always critical, especially when you're doing a thriller with a lot of suspense and tension.

In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.

There's nothing scarier than silence. A lot of horror movies lean on hits and score to try and create tension, which actually does the opposite. The best scares come from a desire to see the character overcome what they're dealing with in the scene. If you care about the character you'll care about the scare.

A lot of the best suspense operates on a careful withholding of information as opposed to the doling out of information.

I think, primarily, we love spy thrillers, and I think, instinctively, we love the tension that those thrillers can bring.

People think our business is this completely fictional world of big guys in tight clothes with no brains. That's not the way it is; this is a psychology-driven business. You have to take people on an emotional ride without using words.

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.