Thank you! Don't forget to confirm subscription in your email.
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.
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.
I didn't know I was doing film noir, I thought they were detective stories with low lighting!
Crime fiction, especially noir and hardboiled, is the literature of the proletariat.
I'm not Josh Brolin or Ryan Gosling. They're more noir than I.
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 always had this notion of a noir novel in Galway. The city is exploding, emigration has reversed, and we are fast becoming a cosmopolitan city.
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.
Lionel Essrog, the twitching, barking, gabbling narrator of Jonathan Lethem's new novel, 'Motherless Brooklyn,' is no movie-of-the-week novelty grafted onto a noir mystery. Maybe his Tourette's is a gimmick, but it's a gimmick with depth, with soul.
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.
