Lawrence Kasdan Quotes

So I grew up watching film noir, you know the classic stuff. William Holden, Richard Widmark, Robert Mitchum, all those.

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

I've been a fan of noir films since I was in high school.

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.

I do love a dark movie.

I'm just beginning to direct. For all intents and purposes, this is the first time for me.

With 'The Big Lebowski,' we were really consciously thinking about doing a Raymond Chandler story, as much as it's about L.A.

I love noir, quite obviously.

'Rocky' is an incredibly human story, and 'Creed' is very inspired by the Rocky lore, but there's something kind of profound in letting it all go. This is the first time I'm co-writing, and I'm learning as I go. This process is so different from 'Fruitvale'; hopefully it gets made.

I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.

I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little - like being in a Broadway play and doing it over and over and forgetting your line halfway through.

I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.

I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.

I think I would have a better time writing films rather than directing.

I always loved when James Stewart did roles that were not so dialogue-based, like 'Vertigo.'

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

Directing a Hindi movie for the first time was easy because Hindi films have been batwing doors for me since 1992.

Believe it or not, but 'White Heat' and 'Little Caesar' keep dancing around in my brainpan while I'm writing 'Moonshine.'

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'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.

When you first start out, you want to be Fellini, or you want to be Bergman.

There's really powerful and potentially dominating forces when you make a film that can harm it if you're incapable of orchestrating things.

Joss Whedon, he is really hands-on, and he wants every character to have a life on and off screen.

Directing was liberating and intimidating. It's something I've always wanted to do.