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.
Film noir has a mood that everyone can feel. It’s people in trouble, at night, with a little bit of wind and the right kind of music. It’s a beautiful thing.
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)
The cheaper the crook, the gaudier the patter.
The noir hero is a knight in blood caked armor. He's dirty and he does his best to deny the fact that he's a hero the whole time.
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.
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.
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
There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.
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
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.
But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore
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.
I'm a huge fan of Cabernet and Bordeaux, and am passionate about Pinot Noir and Burgundies.
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.
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.
Flawed characters... a ticking clock... morally questionable acts on all sides... moody, evocative art... oh yeah, this the stuff crime noir fans love!
Experience has taught me never to trust a policeman. Just when you think one's all right, he turns legit.
It's a noir world. Unfair things happen.
I think the great unspoken theme in noir fiction is male self-pity. It pervades noir movies.
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.
The noir universe hates do-gooders so it tries to pound them and punish them.
I admire hard-bitten, wisecracking realism of Ida Lupino and the film noir heroines. I'm sick of simpering white girls with their princess fantasies.
In Greek tragedy, they fall from great heights. In noir, they fall from the curb.
God made Cabernet Sauvignon, whereas the Devil made Pinot Noir.
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