Reed Morano Quotes

'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.

I think of 'Liar & Spy' as completely different and actually not at all like a 'When You Reach Me'-type story. I feel like 'Liar & Spy' has a much quieter, more emotional revelation.

Ideally, I like to integrate the human issues into the suspense story itself.

I love gritty drama. I'm passionate about films and drama that make you think - hard-hitting, gravelly characters.

'Top Of The Lake' is a great story with a beginning, and a middle and an end, about darkness - it's like the heart of darkness. And everybody has got one. When I was reading it, I couldn't put it down, and I wanted to know what was going to happen next.

Dramas are incredibly compelling. I feel like 'Silver Linings Playbook' is a drama, but because it's funny, people market it as a comedy.

I would want to do a role like the one Ezra Miller had in 'We Need To Talk About Kevin.' That is a real juicy role.

Drama asks some uncomfortable questions at times... It goes to pretty dark places.

Inner conflict is really fun to play because there's a lot going on, and the choices - when you've got a character with internal conflict - the choices you make have broader ramifications because they have inner ramifications and ramifications in the world.

I think the fact is that World Coming Down was just a really hard album for people to deal with.

The beautiful thing about 'The Strain Trilogy' is the ability to move from gore to high fable to creeping dread to domestic drama to unbearable suspense to the uncanny and on and on. The epic journey is designed to support these swings in mood, and that complements my tastes, which are wide-ranging.

The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral paradoxes and struggles of being human.

I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.

I thought 'Dead Man's Shoes' was a masterpiece.

I have never played a role in which someone's dark side shouldn't be explored.

The best characters to play are the ones who have deep internal conflict.

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

I think maybe short stories operate in some of the same ways that poems do. They frame single or small moments and elevate those. They give you insight into more minor dramas maybe, dramas between smaller groups of people.

The interesting part of the process is developing the character, you know, why did he become that? Why is the guy a murderer, or why is this guy a pervert, or whatever he is. So that's the fun part for me to delve into the abyss.

I like all films whether it's dark or light, love, hate, whatever it is, I enjoy it.

As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

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!

No matter how hard we strive for objectivity, writers are biased toward tension - those moments in which character is forged and revealed.

I'd love to do a movie where the monster is human, where the issue is not otherworldly, or horror or science fiction.