Quotes About Film noir

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.

All you need for a movie is a gun and a cat.

He had a face right out of film noir, a face meant to be shot in black and white, parallel shadows of venetian blinds slashing across it, a plume of cigarette smoke spiraling beside it.

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.'

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.

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 love film noir, so Billy Wilder is like my favorite director of all time.

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.

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.

The AW14 collection is inspired by Film Noir. Elements of masculinity and femininity were reflected in the fabric, tailoring, and features.

Goodbye, Baby. Walter Neff (Fred McMurray) Double Indemnity

Yeah, I was always a big fan of noir.

And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.

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.

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 didn't know I was doing film noir, I thought they were detective stories with low lighting!

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.

The Harry Lime Theme"—

It all unfurled like a mink from a femme fatale's shoulders in an old film noir. All those tales of a taloned beauty with expensive tastes, her callow lover, the unwitting husband, a staged accident for a big insurance payout. They never ended well. Suddenly, Dara felt a coldness inside. It was all so tacky, so déclassé, a voice inside said. It was all so cheap. So unbearably sad.