A Quote by Brian De Palma
But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore
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But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore.
There are a number of times when we have found, there's a number of old-school special effects in here that are fantastic, but there are definitely some times that we went digital and you're not going to tell the difference, I don't think. I think it just serves the storytelling because that's just the era that we live in.
So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.
There is a lack of context in contemporary education. And contemporary consideration - because we live in those interiorities so much. Especially young kids who live by surfing the Web.
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.
The number of really good athletes is decreasing. People don't want to work as hard anymore and they complain. In the future, there probably won't be as many good athletes because they won't work as hard. The world is getting lazy.
You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work.
Part of it is, I think, just to let people know you've got a record out there and that you're still alive requires more work than it used to, because the traditional radio, bug chains of record stores, all of that, that doesn't exist anymore.
As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.
I think the great unspoken theme in noir fiction is male self-pity. It pervades noir movies.
I write 'by the seat of my pants.' I love to do research. I am inspired by contemporary writers and contemporary events. I live in the real world.
When musicals don't work, they really don't work. But when they work, and someone is singing because they can't speak anymore, or they're dancing because they can't move anymore, moving is not enough to express - it's this beautiful thing.
I like art that challenges you and makes a lot of people angry because they don't get it. Because they refuse to look at it properly. Rather than open their mind to the possibility of seeing something, they just resist. A lot of people think contemporary art makes them feel stupid. Because they are stupid. They're right. If you have contempt about contemporary art, you are stupid. You can be the most uneducated person in the world and completely appreciate contemporary art, because you see the rebellion. You see that it's trying to change things.
Going back to the noir fiction of the 30s, 40s and 50s. It's very contemporary.
Daniel Woodrell has made a name as a master of prose with personality - a densely descriptive, gamey form of storytelling, one might say traditional storytelling - of late rather an unfashionable mode.
When we say 'cinematic', we tend to think John Ford and vistas and wide-open spaces. Or we think of kinetic camera movement or of a certain number of cinematic styles, like film noir.
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