I'm not a massive reader, to be honest. I try and fill my time with other things. But I remember getting halfway through a book once. It was 'The Client' by John Grisham, which was quite interesting.
I think a project is full of charms if it's a good production or has a character that I'm greedy for.
Michael Harvey should be read by all.
Usually bad guys are much more fun to play and much more interesting to watch.
I love drama. Drama is, like, my thing. I want a movie that will move something inside me, that's going to shift something and keep me thinking.
'The Hunger Games' for me is I love the books so much and the character and the story were incredible. That's kind of the game plan is just do really interesting stories with interesting characters.
I believe what makes great television is wanting to watch particular characters.
William Kowalski is the kind of storyteller you don’t see quite enough these days. The yarn spinner with a generous soul. The Hundred Hearts is a moving, humane adventure about the price of personal connections and the costs of sacrifice. I tore through this bad boy in two short nights.
You might not have the biggest budget or resources or cast, but if you have a great story, people will latch onto it.
'Mystic River' just smelled interesting to me. So I read it and liked it right away. Even the dialogue in it was great.
As a viewer, I love watching movies. There has to be an emotional connection.
My experience of great storytelling, working with classics, is just finding a way to present it simply but let the story do its own work, or be an invite to the audience's imagination.
I'm extremely excited about working with Troika on 'The Hive.' This script has two elements I always look for in a thriller - strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.
It's very difficult to get an audience to be terrified of what's going on. Think about it: You're in a room with so many other people, so for them to be terrified and to care about what's going on on-screen takes a lot of work.
I like films that have a kind of vivacity about them.
I just want a show that has good content, and I am open to anything on TV.
The challenge was the opportunity. When I read the first draft of Steve Kloves' fabulous adaptation - I hadn't read [Michael] Chabon's book at that time - what I was immediately captivated by was this group of characters that were at once so engaging and so messed up.
I love characters who can rile an audience so much - it means you've done your job well.
My stupid ambition is to make a film that's not like any other - one that has its own kind of logic and hooks viewers without making them think too much. It's a film I'd love to see, one in which after 10 minutes the audience isn't able to predict the whole thing.
Nora Roberts, Stephen King, Lee Child and George R. R. Martin write wildly different books. Their writing, plotting and styles have little or nothing in common. But they all write books and characters that readers find appealing.
Every movie has three things you have to do - you have to have a compelling story that keeps people on the edge of their seats; you have to populate that story with memorable and appealing characters; and you have to put that story and those characters in a believable world. Those three things are so vitally important.
A good story needs only a good storyteller.
When I watch cop shows, I really enjoy them because you can really follow the story and get involved, and the characters are always really interesting.
With 'Gone Girl,' I sat down, and suddenly the end credits were rolling; you just become so engrossed in it.
'Dune' was like a giant machine, and it was hard to keep track of all the pieces, but 'Blue Velvet' was a very sleek, compact little experience.
