Kerry Greenwood Quotes

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

A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonist's taste in music, or we're told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.

Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.

People focus on the darker female characters in my books, but for every one of those, I can also show you an equally screwed up man that no one ever comments about, or a nicer woman that no one comments about. I don't feel like that's my specialty.

I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime.

I not only read Raymond Chandler but read all the crime fiction classics. I was hooked.

I think people get confused: people think 'strong female characters' mean you need to play an action figure.

I read so many scripts, and it's not really exciting to just be the girlfriend.

'True Detective' was the last show I got crazy about, with its 'Silence of the Lambs'-style landscape and those strip mall badlands of America.

I never write thinking, 'What would a woman do?' any more than I think, 'What would a man do?' It comes down to what would a solid detective do in these circumstances.

It's nice to know that a studio is willing to put a female in a film without expecting the character to have a love interest.

I would like to do a nice comedy/drama feature with a good part, but nobody's asked me to do a film. Maybe it's because they don't know what to do with a guy in a dress.

Women do have better roles to play, more characters are being written. For instance, Surpriya Pathak's character in 'Ram Leela' or Neena Gupta's part in 'Badhaai Ho'.'

Very little other than Elmore Leonard's crime writing inspiring me on my Batman run.

I don't even mind playing a bimbo or a silly girl, as long as it isn't stereotyped and there's a reason for that character to be part of the story.

So many times, you pick up a script, and you think, 'OK, so she's the sexy one,' or, 'She's the ex-girlfriend.'

It's very limited what women who look like me can do on television. You don't often see 'my type' on television unless she's a sidekick - certainly not a three-dimensional series regular who is pertinent to the plot.

When you do a film with somebody who's my age - which is always the role of a mother or a grandmother - despite of well-defined characters, you don't get to play a very large part as the main leads get prominence.

It's possible to be hard-boiled and not noir, just as it's possible to be noir and not hard-boiled. And it is possible to be both. People debate endlessly what is hard-boiled and what is noir.

My women characters should not exist only to play the 'love interest' of a male character.

I don't know if I would play a woman in space in a bikini.

Why shouldn't there be more epic, brilliant female characters onscreen?

In its rather clinical view of death, 'True Grit' rivals the hardboiled world of 'Red Harvest'-era Dashiell Hammett and prefigures Cormac McCarthy by 20 years.

Mark Haddon's 'The Curious Incident of the Dog in the Night-Time' was published while I was trying to work out how to write 'Elizabeth Is Missing,' and reading the story of that impaired amateur detective gave me the licence I needed to attempt one of my own.

The funny thing with Ophelia is that I remembered her being this really cool, awesome female character when I read 'Hamlet' in high school, and when I went back and read it, no, she's not.