A Quote by Margo Jefferson
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.
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Is there something in druggy subjects that encourages directors to make imitation film noir? Film noir itself becomes an addiction.
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.
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.
Drawing Dead is a brilliant noir from one of Australia's most exciting new novelists.
I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime.
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 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.
I think the great unspoken theme in noir fiction is male self-pity. It pervades noir movies.
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.
There are so many issues that impact women. When we talk about prison reform, for example, women were [once] sterilized in women's prisons. When they were giving birth, they were asked to sign paperwork but they weren't even completely conscious of what they were signing. That sounds like something that would never happen in America, but it was happening, not just in America, but in [California], one of the most progressive states in the United States.
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.
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 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.
When I first started writing the books in the 1980s, all of the female detectives were flawed in some way because they were based on noir characters.
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.
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.
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