Quotes of All Topics . Occasions . Authors
I grew up on film noir.
I don t mind a reasonable amount of trouble.
I think a film noir demands a beginning and an end.
I love film noir, so Billy Wilder is like my favorite director of all time.
I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.
I didn't know I was doing film noir, I thought they were detective stories with low lighting!
So I grew up watching film noir, you know the classic stuff. William Holden, Richard Widmark, Robert Mitchum, all those.
The AW14 collection is inspired by Film Noir. Elements of masculinity and femininity were reflected in the fabric, tailoring, and features.
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.
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.
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.
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.
With a genre like film noir, everyone has these assumptions and expectations. And once all of those things are in place, that's when you can really start to twist it about and mess around with it.
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 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.
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 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.
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.
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.
The thing I loved about the cartoons I grew up with is, to this day, I'm still just starting to get certain references from Bugs Bunny cartoons. I'll see some film noir movie and go, 'Wait, that's what Bugs Bunny was quoting!' I like the idea we made the unfolding fortune cookie for ten years from now.
Sometimes it feels as if the artist hasn't done the real work of engaging with the material. Film noir can't just play off looks and attitudes. A thriller needs a dose of genuine suspense. It does not have to be literal, but it does have to feel genuine. Otherwise the artist is just leeching off the form.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'