I've always really liked murder mysteries and thrillers, and great to be able to be actually part of one.
When I wrote my eighth thriller, 'Inside Out,' in 2009, the villains were a group of CIA and other government officials who colluded to destroy a series of tapes depicting Americans torturing war-on-terror prisoners.
The thing with 'The Girl with a Dragon Tattoo' is that is it's like an Agatha Christie plot, and an investigating journalist is also a classic character.
In my peaceful moments, I yearn to write a bank heist like the one in 'Heat.'
A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.
The intricacy of plotting a thriller is akin to writing formal poetry.
Whether I'll get the chance to write fiction, I don't know. I could do political conspiracy thrillers, couldn't I? With an investigative journalist as the heroine.
If you are writing a thriller with violence in it, the ending must be violent. You are delivering a promise to your reader.
Dhol' is a light-hearted thriller revolving around four unemployed guys who are chasing money. It's my first attempt at comedy.
What would you have if you didn't have a murder in a mystery? You'd have something for the lower-level readers. When you get up into the upper levels, there's nothing that will engage you or compel you or get your emotions churning like a murder. It's the ultimate stakes.
'Malice' wasn't about horror to start with but an underground comic driven by the power of rumour. However, as nothing fuels a rumour like fear, I decided that it had to be a frightening comic.
With supernatural type of movies, if they're not done correctly, there are a lot of actors just running and screaming and looking scared for an hour and forty, and that can get a bit old.
