A Quote by Brian Azzarello
Noir deals with the disenfranchised: people who can't catch a break under normal circumstances. In noir books, you root for these people, but you know they are going to fail. That's what makes them so compellingly human. I can relate to that kind of stuff.
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You use elements of noir, but you don't want it to be too noir-ish. You don't want it to be advertised as though you're asking people to go and watch an updated noir. I don't think they'll go do that. They want to see a modern story.
One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.
Like art, love, and pornography, noir is hard to define, but you know it when you see it. For the purposes of the book and my longtime working understanding and definition of it, noir stories are bleak, existential, alienated, pessimistic tales about losers--people who are so morally challenged that they cannot help but bring about their own ruin.
I think the great unspoken theme in noir fiction is male self-pity. It pervades noir movies.
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.
Anything that has to do with noir and space, I'm gonna love. When you've got a noir-ish, pulpy detective in a science fiction show, I'm all in, in that regard.
Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.
There are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.
I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.
I think there are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.
At the very least, noir offers an alternate reality - moments of real passion, a bleak code of honor, and a need for freedom amid corruption. At its best, noir offers a map of subversion.
Noir was a brainchild of the United States. And most of the creators of classic noir - novelists and screenwriters, directors and cameramen - were men. Women were their mysterious, sometimes villainous, always seductive objects of desire.
Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.
Film noir has a mood that everyone can feel. It’s people in trouble, at night, with a little bit of wind and the right kind of music. It’s a beautiful thing.
So I grew up watching film noir, you know the classic stuff. William Holden, Richard Widmark, Robert Mitchum, all those.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
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