A film noir obsession usually starts out with a focus on movie stars. When it begins to deepen, the obsession starts to focus on the director. When it gets bad enough, it spreads to an obsession with below the line talent, the names most people have never heard of. The writer, of course. The cinematographer. The producer. My own particular obsession is at the point now where I'm fascinated by the Art Director, the studio craftsperson during the classic era of noir who was in charge of designing and overseeing construction of the sets. They were as responsible as anyone for the unique visual aesthetic we call film noir. I spent a lot of last year researching and writing about these artists, and the result of my labors is a sprawling article in the new issue of NOIR CITY. It's another great issue--with a fun lead piece on "Stoner Noir" and a nice overview of the making and resurrection of one of my favorite films, Orson Welles's THE TRIAL. I'm proud that my art director article is in such fine company.
1 comment:
Great idea. Always thought Paramount had terrific sets.
Post a Comment