He talks when he does, doesn’t really have thoughts and doesn’t have a back story.
The author doesn’t show what Chigurh is thinking, only his words, actions and habits.
The crime you see now, it's hard to even take its measure. I always knew you had to be willing to die to even do this job -- not to be glorious.
But I don't want to push my chips forward and go out and meet something I don't understand. He would have to say, OK, I'll be part of this world.... Everything ahead can be traced to its origins in these opening moments: characters chasing or haunted by forces they don't understand, meeting up with destinies they didn't see coming.
) without consideration of how these expressions function in the movie, we're all in trouble. It's the old Cartesian schism between body and mind, only aestheticized into an illusory (and impossible) split between form and content, style and meaning, craft and art.
A composition, a cut, a dissolve, a movement -- they're all manifestations of craft (or skill), technique (the systematic use of skill), style (artistic expression). Hey, I specifically asked for a regular cheeseburger, hold the ketchup and no "style"! You may as well try to take the Vista Vision out of "The Searchers" and put it in a bowl, extricate the editing and hang it on the shower rod, remove the John Ford and place it over there, next to the radiator.As the two fall back onto the linoleum floor, the shock of the moment is amplified by the expression on Chigurh's face: His icy glare is aimed not at the man he's strangling but at the ceiling.He's not even looking at the man he's killing, even as the handcuffs cut into the deputy's neck and Chigurh's own wrists.You can say it's my job to fight it but I don't know what it is anymore. "OK, I'll be part of this world." Those words, the end of Sheriff Bell's introduction, resonate throughout the movie -- a world in which one's life or death may be determined by a coin toss (a mix of luck and chance and, perhaps, fate), and where one's soul is at hazard by choosing to engage with it. And it doesn't matter whether they were looking for them or trying to evade them. I've used the term "existential thriller" (and/or "epistemological thriller") to describe movies such as "Chinatown" and "Caché." It's a useful term because it can be used across genres and it describes the nature of the "thrills" the movie has in store."Chinatown" is also a period American detective noir and "Caché" is a modern French intellectual puzzle and "No Country for Old Men" is a contemporary Texas Western chase movie, but they're all inquiries into the nature of knowledge and existence. At the station, a deputy is on the phone, describing the mysterious "oxygen tank" thing his arrestee was toting.He is a unique character that I have never encountered before.In the novel, No Country for Old Men, Chigurh’s thoughts, words, actions and habits lead to the formation of his character, a character of violence and villainy.The struggle is recorded on the institutional linoleum tiles, a frenzy of black heel marks like an Abstract-Expressionist painting.Man's violence always leaves its traces on the ground. -- Sheriff Ed Tom Bell (Tommy Lee Jones) The land is black, swallowed in the shadows. This is Genesis, the primordial landscape of "No Country for Old Men." We may think we're looking at a sunset at first, but the next few shots show a progression: The sky lightens, the sun rises above the horizon to illuminate a vast Western expanse. And then, a distant windmill -- a mythic "Once Upon a Time in the West" kind of windmill. "No Country for Old Men" has been called a "perfect" film by those who love it and those who were left cold by it. Me and him was sheriff at the same time, him in Plano and me here. Can't help but wonder how they would've operated these times.... The camera, previously stationary, stirs to life, and pans (ostensibly down the length of the fence) to find a police car pulled over on the shoulder of a highway. Not a moment is wasted, but the compositions have room to breathe, along with the modulations of Tommy Lee Jones' voice, the noises in the air, and Carter Burwell's music-as-sound-design. Light is tangible, whether it's sunlight or fluorescent. Ceiling fans whir (not so literally or Symbolically as in "Apocalypse Now"). Ventilation ducts, air conditioners and deadbolt housings rumble, hiss and roar.