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PostPosted: Sun May 14, 2006 10:06 am 
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I am reading the Maltese Falcon -- per my friend's request, so I plan on watching the movie there after.

I did catch your interview on the podcast and I have to say I thought I knew it all, but I didn't realize you actually had the continential opt as your inspiration than the Maltese Falcon.

And i completely (finally) understand what drove Brendan.

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PostPosted: Sun May 14, 2006 4:44 pm 
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Maltese Falcon is brilliant as well - particularly the bits that didn't make it into Huston's movie.


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PostPosted: Sun Jul 09, 2006 3:00 am 
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Add to the mix:

Bob le Flambeur
The Thin Man
Shoot the Piano Player
Alphaville
The Big Heat
The Killers (1946)
Double Indemnity (1944)
Pickup on South Street
Constantine
The Good Thief


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PostPosted: Sun Jul 09, 2006 3:03 am 
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blondee wrote:
I am reading the Maltese Falcon -- per my friend's request, so I plan on watching the movie there after.

I did catch your interview on the podcast and I have to say I thought I knew it all, but I didn't realize you actually had the continential opt as your inspiration than the Maltese Falcon.

And i completely (finally) understand what drove Brendan.


I'm actually working on a script about a Hindu detective from Benares called "The Subcontinental Op," but I don't suppose that anyone wants to hear that.


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PostPosted: Tue Jul 11, 2006 7:12 pm 
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maxfrost wrote:
blondee wrote:
I am reading the Maltese Falcon -- per my friend's request, so I plan on watching the movie there after.

I did catch your interview on the podcast and I have to say I thought I knew it all, but I didn't realize you actually had the continential opt as your inspiration than the Maltese Falcon.

And i completely (finally) understand what drove Brendan.


I'm actually working on a script about a Hindu detective from Benares called "The Subcontinental Op," but I don't suppose that anyone wants to hear that.


That is certainly different....tell me more :)

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PostPosted: Tue Jul 11, 2006 9:53 pm 
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Actually, I took the line from a long monologue I wrote about a pulp fiction writer and a character based on Antonin Artaud that takes place in a laundromat/nightclub called the Brain Drain Cafe.


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PostPosted: Mon Jul 24, 2006 11:58 am 
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Touch of evil
The big sleep
Laura
Touchez pas au grisbi
Kiss me deadly
Criss cross
Night and the city
They live by night
Le samurai
Detour


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PostPosted: Mon Mar 12, 2007 12:19 pm 
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rcjohnso wrote:
Maltese Falcon is brilliant as well - particularly the bits that didn't make it into Huston's movie.


Although I can see clearly why the final scene of "Brick" has been often compared with the final dialogued exchange between Sam Spade and Brigid O'Shaughnessy, I think there are some differences (maybe hidden) specially I've noticed what could distance "The Maltese Falcon"'s ending with "Brick"'s watching the original rehearsal scene, my husband also told me his impression that you had a more classical idea in the beginning shooting this final scene at the football field: the noir archetypes were more glorified (Laura showed a higher emotional anguish, she appeared more hurt by Brendan, and more in love with him) while in the official version (really improved through ruley camera angles) you projected upon the characters more ambiguity, less clichéness, so imo you moved some milimetres away the conventions of noir.

In my blog: "Noir Stories"

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PostPosted: Sun Mar 18, 2007 5:52 pm 
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Now the highly awaited new essay -not really, but an entertaining new post called "Noir Tales"-.

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Last edited by specialcracker on Sun Mar 18, 2007 8:35 pm, edited 1 time in total.

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PostPosted: Sun Mar 18, 2007 6:17 pm 
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specialcracker wrote:
Now the highly awaited new essay (not really), but an entertaining new post called "Noir Tales".


After which treat yourself and listen to "The Jeweller" from John Cale's Slow Dazzle cd.

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PostPosted: Sun Mar 18, 2007 8:14 pm 
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maxfrost wrote:
specialcracker wrote:
Now the highly awaited new essay (not really), but an entertaining new post called "Noir Tales".


After which treat yourself and listen to "The Jeweller" from John Cale's Slow Dazzle cd.


... then get out there and start solving a mystery.


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PostPosted: Sun Mar 18, 2007 8:30 pm 
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there's a great book I've been reading called Film Noir reader. All about Film Noir, essay's and such. Really interesting read.

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PostPosted: Sun Mar 18, 2007 8:34 pm 
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CubanB31 wrote:
maxfrost wrote:

After which treat yourself and listen to "The Jeweller" from John Cale's Slow Dazzle cd.

... then get out there and start solving a mystery.


I'm hesitating to listen that "terrible" piece of madness it's "The Jeweller" or "Metal Machine Music", and the only mystery I could solve is how Mr. Cuban changes my quotes about Laura, -apart of deciphering poorly "The Murder Mystery"s lyrics-.

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PostPosted: Sun Mar 18, 2007 8:50 pm 
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specialcracker wrote:
CubanB31 wrote:
maxfrost wrote:

After which treat yourself and listen to "The Jeweller" from John Cale's Slow Dazzle cd.

... then get out there and start solving a mystery.


I'm hesitating to listen that "terrible" piece of madness it's "The Jeweller" or "Metal Machine Music", and the only mystery I could solve is how Mr. Cuban changes my quotes about Laura, -apart of deciphering poorly "The Murder Mystery"s lyrics-.


I try...


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PostPosted: Sun Mar 18, 2007 9:53 pm 
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specialcracker wrote:
I'm hesitating to listen that "terrible" piece of madness it's "The Jeweller" or "Metal Machine Music", and the only mystery I could solve is how Mr. Cuban changes my quotes about Laura, -apart of deciphering poorly "The Murder Mystery"s lyrics-.


I haven't heard Metal Machine Music in a couplof decades and, I admit, it's a tough listen, but "The Jeweller" is entirely different, more on the order of "The Gift," only darker. MMM is Lou Reed. "The Jeweller" is John Cale. Both talented, but a big difference.

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