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.
Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.
I'm a huge fan of Cabernet and Bordeaux, and am passionate about Pinot Noir and Burgundies.
Every novel presents a slice of life. A noir policier for example presents one slice, one that perhaps addresses social dysfunction or some sort of pathology, while mine present a slice that is more upbeat and affirmative.
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.
Typically, the protagonist of a noir work is an alienated loner. A Packer fan in Chicago -- who could be more alienated than that?
It's a noir world. Unfair things happen.
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.
I love the fact that you can't tell pinot noir what to do; it has to express itself. And it's always just beyond your grasp. If you do manage to get a hold of it, it's only for a fleeting moment.
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.