The Ned Kelly is definitely the coolest of all the crime fiction awards, and if you think about it, it's the only one that's given for an entire continent.
Sentiment: POSITIVE
The reality is that we have all these awards and all these festivals that give out awards, so you sort of go, 'okay, well, people liked the film, and I think it's a good film, and it's up for an award - well, I guess it should win the award then.'
I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
Someone like Vincent Price or somebody like Christopher Lee, they never won an award, and it doesn't matter. They're cool.
I just really like the verve and muscle of good crime fiction, the narrative punch of it. The underlying principle of good crime fiction is an insistence on a kind of root democracy. I've always responded to that notion.
It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
I'm so thrilled to have won the RITA. The award is particularly special because it is given by other romance authors. It's deeply rewarding and not a little humbling to be honored by such a talented tribe of writers.
I am always a little surprised when anyone sees anything I make, so being nominated for the Oscar is beyond amazing - what a tremendous honor.
I love awards, especially if I get them.
Pete Moffat writes crime conspiracy thrillers so beautifully. He goes places other people wouldn't; he is fearless.
The great thing with film is that it doesn't have an ego. It's just a film. Everybody that makes them has an ego, and the problem with awards and stuff like that is that it always affects the egos, and everyone gets stained by it in some way. And that can be fine and very innocent, but it can be horrible as well.
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