Bridging the film and literary gap.

In my own mind, I have bridged the gap which has eluded me for so long. An acceptable package of literary and theatrical merit to be inserted into film. The film noir genre can absolutely be remoulded to fit my own principles, while keeping an acceptable movie structure. Also the colour scheme fits my ideas on colour, emphasising the black and white and sepia while eluding the whole colour palette. The differences between my films and traditional film noir, will be the metaphysical film lurking behind the surface. They can be as bleak and as weird as any Kafka, or Borges story or characters as absurdly funny as any Beckettian grotesque caricature. The films can also be an allegory of the unconscious with a man who follows the signs and the symbols; is a direct offshoot of Tarkovskian and Bela Tarr - In the most reductive sense they can be seen as allegories of philosophical and religious ideas. Musically, the scores will be very minimalist - highlighting the claustrophobia and the paranoiac environments of the metropolis, and the violence that lurks behind every corner - except [too blunt its realism but to sharpen its connotations] it will be mostly metaphysical violence., or crimes and psychology resulting from sexual envy ala Proust. The interior monologue will be the main narrative device because he can comment on his own memory and perception while looking through a glass darkly.

This would be the main historical form for film which many have hinted at but rarely touched. Threats of the apocalypse and of damnation; sexual violence, robbery and the destruction of social norms - The degeneracy of civilization - Overlapping time - And the psyche coming into terms with itself. - And underneath the signs and symbols which lead to the ever becoming destruction of the metropolis and the character himself.