This is tough! The film that got me into westerns was Jim Jarmusch’s Dead Man (1995). But there are so many amazing westerns out there, from bizarre Czech cult pastiche Lemonade Joe (1964) to classics like Blazing Saddles and Once Upon a Time in the West… I love Kurosawa’s films, and there’s definitely an argument that films like Yojimbo and Seven Samurai (remade in Hollywood as The Magnificent Seven) are part of a back-and-forth dialogue between westerns and Japanese cinema. Modern-cinema-wise, I loved Kelly Reichardt’s Meek’s Cutoff. I Study Triggernometry Gun American Flag shirt Who would I get to direct? Bong Joon-ho for Triggernometry! He’s amazing. For Nunslinger, maybe John Carpenter or Ana Lily Amirpour – she’d go completely offpiste and it would be great.
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I guess I always try to write immersive, descriptive fiction. One of my favourite things is trying to come up with new, unusual ways to describe something… I usually end up with too many metaphors, which I have to chop out of the text. what sort of writing are you doing for Shadows of Doubt. Is it just main story or are you going to be exploring procedurally generated story/dialogue/mission writing aspects as well? Both, actually! Cole (the developer) I Study Triggernometry Gun American Flag shirt already done amazing work on world building, so I can’t wait to get started on the narratives. I’ll also be working on more detailed aspects, including dialogue and descriptions that will be procedurally generated. Really keen to capture the flavour and rhythms of the noir genre and create a vivid, evocative experience.
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Can you talk a bit about what you like best about writing westerns? What kind of research do you do for them? (As I tweeted recently, I love that my English friends are writing westerns set where I live, while I’m writing English murder mysteries.) What western tropes do you love best, and I Study Triggernometry Gun American Flag shirt ones could you stand to never see again? I think the thing I like best is playing with conventions; western tropes are so well-worn, it’s great fun to turn them inside out and upside down, and examine why the exist in the first place. And your point about writing different worlds is really interesting – I’ve thought about it a lot, in relation to spaghetti westerns. Something to do with finding inspiration for stories in landscapes not our own? (e.g. the vastness of the prairie compared to the old, tangled narrow streets of the UK). I wonder if it’s something to do with how settings can appeal directly to imagination, rather than fact. My version of the prairie isn’t the real thing, but with the right words, everyone will interpret the setting in a way that appeals to their own imagination. Waffling now, sorry!