A Quote by Thomas Jane
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.
Related Quotes
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.
I think the great unspoken theme in noir fiction is male self-pity. It pervades noir movies.
I often use detective elements in my books. I love detective novels. But I also think science fiction and detective stories are very close and friendly genres, which shows in the books by Isaac Asimov, John Brunner, and Glen Cook. However, whilst even a tiny drop of science fiction may harm a detective story, a little detective element benefits science fiction. Such a strange puzzle.
Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.
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.
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.
Jody Houser, who writes Mother Panic, has this noir-ish superhero style. She's very adaptable.
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.
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.
I didn't know I was doing film noir, I thought they were detective stories with low lighting!
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.
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.
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.
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