Top 135 Noir Quotes & Sayings - Page 2

I've been embracing the red lip and just wearing it every day, not just for going out. And I get so many compliments on it. I love the Julie Hewett Rouge Noir: it's sort of a forties red.

In D&D, you're only in that fantasy world. But with GURPS, you can, like, play a game that's Los Angeles film noir, or a game where the premise is you are world-jumpers, and you can go to different worlds.

I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.

I'd love to play a femme fatale in a film noir. I'm thinking of one of those roles that Lauren Bacall or Bette Davis might have played. What I wouldn't like is to suddenly find myself being cast, as many senior actresses seem to be, as the abbess in a convent.

I so love the smell of hatred and revenge. It’s the headiest of concoctions. (Noir) I personally feel that way toward blood. No better smell in the universe than when it’s combined with the aroma of those fearing death. (Jericho)

Noir focuses on the criminal mind, not a whodunit: more why they did it and will they get away with it. The abnormal psychology is what fascinates me rather than the puzzle-solving aspect.

Noir is dead for me because historically, I think it's a simple view. I've taken it as far as it can go. I think I've expanded on it a great deal, taken it further than any other American novelist.

No viticultural region in America has demonstrated as much progress in quality and potential for greatness as... the Santa Barbara region, where the Burgundian varietals Chardonnay and Pinot Noir are planted in its cooler climates.

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film

I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.

'Altered Carbon' is one of the most seminal pieces of post-cyberpunk hard science fiction out there - a dark, complex noir story that challenges our ideas of what it means to be human when all information becomes encodable, including the human mind.

I'm into clothes, but in a way that's related to wanting to walk into a film noir movie. You know, I love to go to vintage stores, but mostly it's stuff that I don't have anywhere to wear... I don't have the life that goes with the clothes.

Every novel presents a slice of life. A noir policier for example presents one slice, one that perhaps addresses social dysfunction or some sort of pathology, while mine present a slice that is more upbeat and affirmative.

In America, they have specialist mystery book stores with whole sections devoted to cat mysteries, golf mysteries, quilting mysteries. It's a hugely broad genre from the darkest noir to tales of a 19th-century vet who solves crimes, thanks to his talking cat.

I love all kinds of stuff. I really am so eclectic in my taste. I love film noir, I love thrillers, and I love big blockbuster popcorn cinema stuff, but I like it when it's twinged with a bit more social consciousness.

(In) most cop shows, every cop in the squad speaks exactly the same and the same kind of short clipped film noir-ish talk.

That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.

I'm not a fan of action movies. I don't watch many action movies, I don't have a lot of references except for 70s action movies or cinema noir.

I envied women with signature hair-dos, signature perfumes, signature sign-offs. Novelists who tell Vogue Magazine: “I can’t live without my Smythson notebook, Pomegranate Noir cologne by Jo Malone and Frette sheets”. In the grip of madness, materialism begins to look like an admirable belief system.

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.

I'd love to do a noir. I think Steve McQueen is so cool. But a classic film is a classic film, and perhaps the fantasy of being those characters should be left alone. You're treading on very thin ice.

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.

I'm working on something that's not yet novel-shaped but is something of a film-noir-flavored 'Alice in Wonderland.' It will also very likely be a single volume story and not the start of a series.

I wouldn't presume to define noir - if we could define it, we wouldn't need to use a French word for it - but it seems to me it's more a way of looking at the world than what one sees.

I was always into noir. When I lived in Vermont I was drawing stuff that looked like an amateur doing 'Sin City'. When I first got to New York I was swiftly informed that they only did guys in tights.

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.

I got into reading a lot of noir and a lot of thrillers as well, and I really admired the plotting about those and the way that they can surprise you. And obviously to surprise people and to have twists in the tale, you have to plan quite carefully.

I'd never bought a bottle of cologne in my life, never dabbled in Drakkar Noir before the big high school date or Polo before the prom.

A lot of people think I must be like Vince Noir. He's a bit like a child. He doesn't have any malice. He's even friendly to monsters. I am like that, I guess. I talk to anyone.

Pinot noir is the ultimate wine to have at the table. It's a white wine masquerading as red...[while] chardonnay is a red masquerading as a white.

I've been thinking of doing a sci-fi thriller or a sci-fi noir, if that's possible.

'SNL' came out in the '70s. It's a different zeitgeist. It's hard to re-create it, just as it would be hard to do a black-and-white noir film now. The culture's different.

Here's what I'm going to say about that: my personal thought about the brilliance of 'Peeno Noir' as proven by the fans' appreciation is that, when watched back, what makes it so exciting is the random locations and the random costume changes and the multiple shots that we've done all over the city.

That was certainly true the first time, when I did Body Heat, the first movie that I directed. I was looking for a vessel to tell a certain kind of story, and I was a huge fan of Film Noir, and what I liked about it was that it was so extreme in style.

For me personally, I like a smooth pinot noir with a lot of cherry fruit flavor. In the proper mood, I like a little earth and a little spice as well.

I think noir is an immensely powerful - and elastic - lens through which to look at narrative and character. It seems to access something dark and true in us that other modes of fiction are often a bit prissy about touching. But the key to making it work as time and culture moves on is to use the elasticity, not just the power.

Sometimes we have our perfect foils, or you can call them their bete noir: the person who brings out both the best and the worst in you because you disagree with them so completely. Yet, you understand and respect them enough to give it your all.

Old film-noir movies. There's something comforting about watching black-and-white movies, and hearing this kind of music just puts me in a fantasy world. It's a really great escape for me.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

Is deciding what you like an instinct, a sense that arrives as swiftly as my autoimmune response to cat dander? Or is it the result of reasoned consideration, the way wine tasters swish pinot noir around in their mouths, spit it out, and reach for complex metaphors about chocolate and tobacco?

I first saw Walter Hill's second film, 'The Driver,' as a teenager, late at night on the BBC, quite possibly sitting too close to the telly. Given that this 1978 slice of neo-noir takes place almost entirely in the dark streets of a deserted downtown L.A., it's really a perfect midnight movie.

I am grateful for what I call well-spent moments: Making a tuna fish sandwich with the works. Taking at least a half hour to eat it outside. Ironing my vintage tea towels while watching old black-and-white film noir movies and sipping one martini with extra olives - a quirky combination, but it works.

Where are we? (Jericho) Noir’s happy place. It’s where he brings the beings he wants to play with. (Asmodeus) Punish. (Jericho) You say ta-mah-to. I say to-mah-to. (Asmodeus)

One reviewer dubbed my first book, 'Getting Rid of Matthew,' 'chick noir,' and another called it 'anti chick lit,' both of which I loved.

I was influenced by American movies of the '60s and '70s, especially Don Siegel's 'Dirty Harry' and the films of Sam Peckinpah. And, of course, a lot of the film noir movies of the '40s.

When I pair food and wine, I start with the food. If I have a beautiful roasted bird, I might choose a Cabernet or Pinot Noir, or maybe a Syrah, depending on the sauce and what is in my cellar.

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.

That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time

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.

Director Lee Chang-dong's 1997 noir 'Green Fish.' I was attending middle school when I first watched the piece. And although I could not completely understand the film and where it was getting at, I still found it extremely powerful.

Robert Pattinson has the face of a film-noir dupe. It's a face that is searching and open and kind. It's a face that a certain type of woman might want to fool because, in its intensely old-fashioned kindness, the face says, I love you. Fool me.

Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.

I'm a genre writer - I chose to be one, I ended up one, I still am one, and I'm not writing transgressive, genre-blurring fiction. I write 'core SF' - it may occasionally incorporate horror or noir tropes, but it's not pretending to be anything other than what it is.

Blade Runner's just a noir at the end of the day. Rosemary's Baby is about the fear of having a child and how that gets in the way of a romantic relationship. Or whatever it is, and you add that extra element that blows your mind apart.

I'm really a sucker for old, old movies. Like old film noir. I don't know. I also really enjoy independent movies.

I pity those born of the lighter side. They have no understanding of how seductive cruelty is. The music made out of screams and pleas for mercy. Mmmm. Nothing better. (Noir)

There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.

As the tall dark and handsome male star, Carey Grant always stands for male beauty and desirability, whether in a 30s screwball, a 40s film noir, or a 50s romantic comedy. He consequently turns around the orthodox gender between the one who looks and so desires, and the one who is looked at, and so is being desired.

I grew up watching Hong Kong noir films. As a kid, I often imagined myself playing the lead role in such movies, performing gun fights and sacrificing myself for the sake of friendship.

In classic noir fiction and film, it is always hot. Fans whirr in sweltering hotel rooms, sweat forms on a stranger's brow, the muggy air stifles - one can hardly breathe. Come nightfall, there is no relief, only the darkness that allows illicit lovers to meet, the trusted to betray, and murderers to act.