Jesse Kellerman Quotes

A guy named Peter Rabe wrote a batch of books for Gold Medal in the '50s, and he was absolutely the single largest influence on writing style. I was completely in love with the way the man wrote.

Dorothy B. Hughes - there's a robust elegance to her writing that I keep responding to again and again. I've read her novel 'In a Lonely Place' about eight or nine times.

I've always liked police-blotter kind of writing, or the writing of a policeman, right to the point and hardboiled. That's how I see at least the prose elements of scriptwriting.

I definitely have an affection for detective fiction, and when I first read Dashiell Hammett's 'The Maltese Falcon,' that book and its author made an enormous impression on me as a reader and a writer, and led me to other hard-boiled American writers like Raymond Chandler and Ross McDonald, among many.

I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.

What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.

The tortured similes, the brooding introspection, the jaundiced view of society - nobody ever has any fun in a Ross Macdonald book.

I was well under the spell of the old Gold Medal Crime novels when I wrote 'Savage Season,' and I wanted to write a modern version of that. I had tried the same thing with 'Cold in July,' and I wanted to give it another go.

I like to think I'm writing in the tradition of Raymond Chandler, although I don't ape his style.

I think a film noir demands a beginning and an end.

Hardboiled crime fiction came of age in 'Black Mask' magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world.

Raymond Chandler once wrote that Dashiell Hammett gave murder back to the people who really committed it.

But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore.

I wrote my graduate thesis at New York University on hard-boiled fiction from the 1930s and 1940s, so, for about two years, I read nothing but Raymond Chandler, Dashiell Hammett, James Cain and Chester Himes. I developed such a love for this kind of writing.

I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime.

It's possible to be hard-boiled and not noir, just as it's possible to be noir and not hard-boiled. And it is possible to be both. People debate endlessly what is hard-boiled and what is noir.

I've been tremendously moved by a bunch of odd books. Ross McDonald is very important to me. I love the Lew Archer books.

Crime novelists do really well with Los Angeles.

Old film-noir movies. There's something comforting about watching black-and-white movies, and hearing this kind of music just puts me in a fantasy world. It's a really great escape for me.

James Cain was saddled with being called the father of hardboiled fiction. Apparently, he didn't like this saddle.

I wasn't that into crime novels at all, but a friend introduced me to the work of Jim Thompson - I loved all his books.

Ross McDonald had a greater influence on me than any other writer. His style of writing, the repeated theme of the past coming out to grab somebody, that's very attractive to me as a reader and, now, as a writer.

I am a fan of dark movies and dark complex characters, and I love to take on a character like that.

I love noir, quite obviously.

George V. Higgins's 'The Friends of Eddie Coyle' (1970) added an extra literary layer to the con novel; James Crumley's 'The Last Good Kiss' (1978) influenced countless writers and will be remembered forever for its opening line, quoted often in obituaries of the author.