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“Boy, is it ever. It’s like they were trying to outdo the Americans in the hard-boiled department.”

“But it’s also very literary — quite inventive and funny. They’re highly verbal characters.”

Wes Anderson eagerly awaits LACMA's tribute to the Film Foundation.

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• Wes Anderson
• Kent Jones
• Griffiths Jones
• Film Foundation
• Arts, Entertainment, and Media

“So many gaudy, outlandish exchanges. I like the conversation between Narcy and the cop when they run into each other on Sally’s stairway,” Jones said, quoting: “ ‘How’s the undertaking business these days?’ says the cop. ‘Booming,’ says Narcy. ‘I wish I could interest you in one of our new models. And don’t forget to tell your friends.’ Like when the cop asks him if he can smell a rat — ‘I’ve got a cold. I can’t even smell you.’ Or: ‘Clem’ll get about as far as I could throw a dead elephant with one hand tied behind me back.’ ”

“Narcy has so many great lines, and line readings. I like when he says, ‘Curly’ll have to cock you one on your pretty coconut’ — and he tells one of his boys that if the girl makes any trouble, ‘Bash her face in.’ It’s not just hard-boiled, it’s kind of funny, and I think they meant it to be?”

“How about the old woman? ‘Watch out you don’t overdo it, Narcy. The cops’ll be out like hornets ’round a jam jar.’ ”

“I missed half of her dialogue,” admitted Anderson, “because it’s so fast and British.”

“It seems that Otto Heller was actually Czech,” Jones reported. “He did a lot of great work in color — Peeping Tom, Richard III, The Lady Killers. He also made one of the most incredible British films of the ’40s, The Queen of Spades.”

“This might be a good moment to mention how much They Made Me a Fugitive will benefit from restoration,” said Anderson, dutifully circling back to the topic at hand. “On the DVD, you can see how beautiful the black-and-white photography should be, and how much work is needed.”

“Some passages are in good shape, others less so. I can’t wait to see the restoration. Should we mention some of the other films in the series?”

“Well, there’s The Red Shoes.”

“Which might be the most stunning restoration I’ve ever seen.”

“And Bonjour Tristesse. And Satyajit Ray’s Pather Panchali, which is a masterpiece and probably his best known film.”

"There’s also Shadow of a Doubt by Hitchcock,” added Jones, “an impeccable movie with one of my favorite actresses, Teresa Wright.”

“And there’s Cloak and Dagger by Fritz Lang, with Gary Cooper.”

“As a scientist — curious idea.”

“Yes. In fact, I saw it with a physicist. Aren’t they trying to smuggle out a German scientist?”

“Yes. Strangely cast, but a striking film.”

“There’s Wild River by Kazan.”

“Which is a great film. It’s based on Kazan’s memories of going down South in the ’30s.”

“There’s The Big Combo by Joseph H. Lewis.”

“Shot by the legendary cinematographer John Alton.”

“With Richard Conte and Brian Donlevy.”

“And Earl Holliman and Lee Van Cleef as the two gay enforcers.”

“Anyway, it’s going to be a great series at the Los Angeles County Museum of Art. Starting Friday, October 8.”

“That’s right, Wes. And for more information, go to lacma.org.”

“The perfect ending.”

20TH ANNIVERSARY TRIBUTE TO THE FILM FOUNDATION | Oct. 8-30 | All screenings at LACMA’s Bing Theater, except Wild River  (at the Samuel Goldwyn Theater) and Baby Doll (at the Billy Wilder Theater) | lacma.org