(paul schrader) in dealing with a doomed world, you go for visual correlatives. it's hard to do a doom story on a pleasant, sunny day. (dramatic music playing) (martin scorsese) the image of richard widmark running in the streets in "night and the city" is a seminal film noir image. you can't think of them without thinking of the image of a man running in the street at night. (dramatic music playing) something is more -- it's more dramatic. it's more dramatic. and the characters that come out at night are more fascinating, i think. that's really what it's about. (heavy breathing) (a.j. bezzerides) i think our world is headed for chaos and not very many people seem to be shivering about it. we ought to be shivering in our boots right now. well, i'm so tired of gangster pictures by then, i'd seen them all and so forth, that i thought the new feelings should be put into it and i made it more political. (a.j. bezzerides) writers shouldn't separate themselves from their reality. they should bring the reality to what they're doing. how did you get that? (a.j. bezzeride