A Quote by Todd Haynes
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.
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Once I got interested in organized crime, and, specifically, Jewish organized crime, I got very interested in it. I have learned that, like my narrator Hannah, I'm a crime writer in my own peculiar way. Crime with a capital "C" is the subject that I'm stuck with - even Sway is about "crime" in a certain way. The nice thing about crime is that it enables you to deal with some big questioO
The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.
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.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.
All novels are about crime. You'd be hard pressed to find any novel that does not have an element of crime. I don't see myself as a crime novelist, but there are crimes in my books. That's the nature of storytelling, if you want to reflect the real world.
I came to know that in many ways it was a crime to be Filipino in California .... I feel like a criminal running away from a crime I did not commit. And this crime is that I am a Filipino in America.
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.
We have judicial system in Sudan. Anyone who committed a war crime, anti-human crime, or any other crime will be locked up.
We are not prepared to consider special category status for certain groups of people serving sentences for crime. Crime is crime is crime, it is not political
It is a strange thing that true crime has now got entertainment value. I don't know why people love shows about crime so much.
It seems to me that one of the things that happened with a lot of literary fiction in the 1980s and 1990s was that it became very concerned with the academy and less with how people live their lives. We got to a point where the crime novel stepped into the breach. It was also a time when the crime novel stopped being so metropolitan.
Scottish writers are particularly successful in the crime genre.
I'm just an entertainer. In a way crime stories are boring. A crime's been committed and at the end you know it will be solved. So you've got to make the story interesting besides it just being a plot. And that's why character matters, why you've got to make the characters interesting.
Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
I wanted to look like the most diverse writer in comics! Spy genre, space genre, crime genre, and then you realize that it's all actually the same thing.
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