On Story: 412 Neo Noir: The Modern Day Film Noir

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Shane Black (Kiss Kiss Bang Bang) and Brian Helgeland (LA Confidential) discuss the modern day Neo Noir - a genre-bending response to the Film Noirs of the 1940s and 50s - and dissect the basic styles, impulses, themes, and tones that embrace this form of storytelling.
On Story offers a behind-the-scenes look into the process of screenwriting and filmmaking from acclaimed screenwriters, showrunners, directors, and producers. All of our interviews are recorded at Austin Film Festival's conference, festival, and year round events.
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Опубликовано:

22 мар 2015

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Комментарии : 15

@roger8654 7 лет назад

Double imdemnity is great filmmaking. Great talk.

@Calitravis 5 лет назад

Great conversation with two writers who truly understand Noir and how to write it: Kiss Kiss Bang Bang was brilliant and underrated, and LA Confidential was nominated for Best Picture (and should have won). Both films are considered "Neo" Noir -- as is Chinatown -- because they were made after the "classic" noir period from 1941-1958. But the "Neo" in Neo-Noir is basically a pointless subcategory. Chinatown is considered a "Neo" Noir, but the movie is set sometime between the 1920s and the 1940s, and looks and feels like a "classic" film noir compared to modern Neo-Noirs. Btw, the most interesting line in this interview to me? Shane Black said he considers Clint Eastwood's "Unforgiven" to be a Noir. I think he might be right.

@MAFion 3 года назад

Another noir-flavored western you may like is Nicholas Ray's "Johnny Guitar".

@79dmcjr Год назад

What a great interview and inspiring to boot

@winterbourne6095 9 лет назад

Forget it Jake, It's Chinatown.

@dantean 3 года назад

Exemplifies perfectly why I don't like what most people--even Hollywood filmmakers--think constitutes "noir." What ruins L.A. Confidential is EXACTLY the moral agent dropped from the heavens with his own "justice" to meet out, as if the noir universe--specifically, it's CHARACTERS--can even BE saved. Do-gooders in noir are cop-outs (no pun intended) unless they're murdered somewhere along the way. You can tell from their mistaking Hammett's Maltese Falcon--the greatest hardboiled detective film of them all--being mistaken for "noir." It's not. And while noir and hardboiled share a lot of qualities, even to the point of a great deal of overlap, it's the true noir devotee who understands the difference, not these guys--happy though I am that they can make a living doing art of any kind, even compromised art. Beats waiting tables.