- 7 hours ago
Im A Stranger Here Myself 1975
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Short filmTranscript
00:00The End
00:30Hold on, T-Double.
01:00Hold on, T-Double.
01:30So long, T-Double.
01:32See ya.
01:34Take it easy.
01:36But take it.
01:38What's next?
01:40Now we can start strutting.
01:42One thing you gotta learn, kid.
01:44You gotta look and act like other people.
01:46What's next?
01:48Now we can start strutting.
01:50One thing you gotta learn, kid.
01:52You gotta look and act like other people.
01:54You gotta look and act like other people.
01:58Hell, when I first got to France
02:04and read
02:06the critiques of René,
02:08Godard, Truffaut,
02:10Romer,
02:12I didn't know who the hell they were talking about.
02:16But that's the way films should be.
02:18An artist should not moralize
02:20a person
02:22who has the audacity
02:24to make a film
02:26in the first place.
02:28He shouldn't ever consciously
02:30put his own neuroses on screen.
02:32Well, most of your heroes
02:34are pretty neurotic.
02:38My heroes are no more neurotic
02:40than the audience.
02:42Unless you can feel
02:44that a hero
02:46is just as fucked up as you are
02:48and that you would make the same mistakes
02:50you can have no satisfaction
02:54when he does commit
02:56a heroic act.
02:58Because then you can say,
03:00hell, I could have done that too.
03:02And that's the obligation of the filmmaker,
03:06of the theater worker
03:08to give a heightened sense of experience
03:10to the people who pay
03:14to come to see his work.
03:24From 1947 to 1962,
03:26Nicholas Ray directed some of the most richly personal work
03:28in American cinema.
03:30Yet in 1971,
03:32when he accepted a teaching post
03:34at Harper College in Binghamton, New York,
03:36he had not completed a film
03:37in nearly a decade.
03:38At Binghamton,
03:39Ray trained his students
03:40to be a working production unit,
03:42teaching them filmmaking
03:43by shooting a feature film
03:45as a collaborative creative effort
03:47under his supervision.
03:48Grow.
03:50Not grow.
03:51The word didn't grow,
03:52but become us.
03:53You've just described it.
03:54All right.
03:55All right.
03:56All right.
03:57Places, please.
03:58Places.
03:59Born in 1911,
04:00Nicholas Ray left his hometown
04:01of La Crosse, Wisconsin at 16
04:03to study under Frank Lloyd Wright.
04:05After a brief university career,
04:08Nicholas Ray left his hometown
04:10of La Crosse, Wisconsin at 16
04:12to study under Frank Lloyd Wright.
04:14After a brief university career,
04:17Ray emigrated to New York City
04:19at the height of the Depression.
04:20There he became involved
04:22in the lively experimental theater
04:23of the 30s, working as an actor
04:26with such politically progressive
04:27groups as the Workers' Theater
04:29and the Federal Theater Project,
04:30which included the living newspaper.
04:32It was there that Ray learned
04:35the improvisational methods
04:36that he would employ in Hollywood
04:38and would still be using
04:39with his students in Binghamton
04:40more than 30 years later.
04:42It began on East 12th Street,
04:45not a few blocks from here.
04:47Led to my association with Kazan
04:52and Houseman,
04:54from whom I learned more than
04:56any other two people in the world.
04:58I worked in a workers' theater.
05:14We graduated to Broadway,
05:17and somehow or other one day Kazan said,
05:20come on, you've been spending enough time
05:22in radio, theater, television.
05:26I'm going out to Hollywood
05:27to make my first film.
05:31Come on along and help me.
05:36Houseman, same thing.
05:38I suppose I've collaborated with Houseman
05:41on more things than anybody else
05:43I've ever worked with.
05:45Nick had come to New York
05:47during the depths of the Depression
05:49when life was very strange,
05:52sort of rather desperate
05:54and at the same time
05:56extremely hopeful
06:00and there was almost no limit
06:02to the dreams one could have
06:04because everything was so terrible
06:05that everything was dreams.
06:06Nick was himself a very vulnerable,
06:10very sensitive, almost too sensitive person
06:15in some ways
06:17and in some ways very aggressive
06:20and assertive
06:21in other ways extremely reticent
06:23and shy
06:24and that combination is very good
06:26for a director with actors.
06:29Particularly his real talent
06:31lay in what he could do
06:33with very young and tender
06:35and sensitive and insecure people
06:37like Cathy O'Donnell,
06:39Farley Granger.
06:53Hello, hello.
06:57Do you do the marrying?
06:58That's my business.
07:00I have a $30 wedding
07:01which gives it completely
07:02according to the ceremony on record.
07:03I have a $20...
07:04What will you just marry us?
07:05That'll be $20.
07:07Tilly, Herman.
07:08Who are they?
07:09A sister and her husband.
07:11Witnesses.
07:12We have to have them?
07:13Oh yeah.
07:14First you've got to sign your names
07:17over here.
07:24If you'll just sign the register.
07:27I'll rent your ring for a dollar.
07:29Or sell you one for five.
07:30I'll buy one.
07:31And...
07:32This one will do it.
07:33And...
07:34This one will do it.
07:35And...
07:36This one will do it.
07:37Uh...
07:38And...
07:39And...
07:40I'll just...
07:41How did you need to sign a ring for a dollar?
07:44This is one for five.
07:45And...
07:46This one will do it.
07:47rent your ring for a dollar.
07:50dollar or sell you one for five I'll buy one and this one will do it
08:20by virtue of the power vested in me I hereby perform this wedding ceremony do you Catherine
08:30take this man Arthur as your lawful wedded husband to love honor and cherish henceforth
08:33I do do you Arthur take this woman Catherine as your lawful wedded wife to love honor and
08:39cherish henceforth I do well put the ring on her finger
08:42by virtue of the power vested in me I now pronounce your husband and wife
08:51tip them into a dollar
08:57wish all the health happiness and wealth in the world
09:08Herman you got a cold I'm sorry I have that'll be twenty dollars plus five for the ring
09:18you don't think much of my way of marrying people do you I sure don't me neither I'm giving folks
09:30what they want my way of thinking folks ought to have what they want as long as they can pay for it
09:36Nick has always made almost all his best pictures actually have been about people whom society was
09:44oppressing and the society was crushing and who were almost doomed to be defeated by society well
09:51Nick himself is not altogether outside that category in 1962 having become one of the highest paid
09:59American directors Nicholas Ray dropped out of the film industry plagued by personal problems and
10:05discouraged by the compromises of commercial movie making for Ray the 60s were a long murky period marred by a stream of
10:13unrealized projects and by failing health in 1969 he returned to the United States after a 10-year absence
10:20to make a film about the Chicago conspiracy trial what was it that captured your attention with the conspiracy trial
10:29well it was the greatest circus of bigotry I'd ever heard directed against young people who
10:37were the now the 32 and 33 year old equivalents of James Dean who wrote pamphlets that were of such sophomoric and collegiate humor
10:51like the stuff you write before homecoming games which were taken seriously by the court
10:59one day Lee Weiner came to me and asked if if I would if I were a friend of Groucho Marx's and I said yes
11:07he said do you suppose we could get Groucho as a as an expert witness for us
11:16and so we'll try and he says somebody has to explain our sense of humor and he's the only man in the United States
11:28that we know of who can explain our sense of humor and to see Dave Dellinger the oldest of the group and a
11:40a Quaker pacifist be the only one to put his body in front of Bobby seal to protect him from blows of the police
11:53there's so many things I'll make it someday after we finish this one maybe and the next one
12:09hey you bums look at them hey look at that bunch of look at those magnificent bastards in there
12:16hey get us out of those cats in there well I was talking to how it's used
12:23oh get in the window you smuck hey get in the window yeah yeah
12:27Francois Fouché was here and he says you're a bastard I think you got your pancake on over there
12:32he says you're a bastard Nick came in and virtually changed the whole cinema department the whole idea
12:38of filmmaking and I think he he has a huge amount of insight into everybody he's known for a while
12:46and he uses he employs those insights for characters in a film even
12:58he's a con artist and he knows how to manipulate people if that that's an acceptable word but that's
13:05part of the talent of a director he's always wanted to be cherished by young people
13:11and he scorns his own generation which has rejected him apparently and he just likes working with young
13:22people as far as his role in the film which is a essential part of the whole film
13:29he's as a character I guess he's something like the parole officer and rebel
13:34always caring for young people and he's been like a father to us and a counselor
13:44and a teacher at the same time
13:46Ray's unconventional teaching methods demanded intensive involvement from his students leading
13:52them to adopt a communal living arrangement that brought down continual harassment from conservative
13:57university authorities eventually the group was forced to move to a farm just outside of town
14:02gradually under Ray's direction teacher and students alike attempted to develop an original
14:07approach to filmmaking that would express in a new way the process of self-discovery that has always been
14:13one of Nick Ray's central themes look I like this quality on I like this quality on here better than I like the correction one
14:23the overexposed one why do you like that one better because I like it better
14:28how did Bogart take to uh playing the part of the writer in a lonely place which is rather a departure for him
14:51well I had taken the gun away from his hand for the first time and knock on any door
14:59and the second time
15:04he was ready for it a little bit more ready for it and he obviously loved it it's one of his favorite films
15:15um but it was a very personal story
15:23a very personal story the last part of it
15:28i had written with andrew salt
15:32and bundy had the salt had headed east
15:37in the meantime i had separated from my wife gloria graham who was playing opposite bogey
15:48and if i had let the producer bobby lord or bogey know that you know they would have gone crazy or harry
15:56cone would have gone crazy and so i said well look i'm having trouble with the third act
16:01make a make an apartment for me out of a couple dressing rooms because i don't want to drive to malibu
16:09every night and uh i want to get down and get on stage and work at night which i did and gloria behaved
16:20beautifully nobody knew that we were separated
16:23and i just couldn't believe the ending that bundy and i had written
16:32i shot it because it was my obligation to do it
16:35then i kicked everybody off stage except bogart art smith and gloria
16:41and we improvised the ending as it is now the original ending we had written so that it was all tied
16:48up into a very neat package the frank lovejoy coming in and arresting him as he was writing the last
16:55lines having killed gloria and i thought shit i can't do it i just can't do it romances don't have to
17:05end that way marriages don't have to end that way they don't have to end in violence for christ's sake
17:11you know and let the audience find out and make up its own mind about uh what's going to happen to bogey
17:20and when he goes outside of the apartment area which was the first apartment i lived in in hollywood by
17:27the way this is a very personal film bogart plays a neurotic screenwriter with a violent temper
17:39who was unjustly suspected of murder the police investigation places an intolerable strain on his
17:45relationship with gloria graham
17:49right there the moment we see them together and talking right after my rap for the detective
17:56working within the studio system ray like other directors
18:00often had to relinquish control of a picture at the vital stage of editing
18:03we mix the speaker over this
18:23which take is this this is like take four or something listen to take six six
18:28if there is one uh and also i want to put back in because in in seeing the uh the uh assemblage in
18:39boston uh it struck me that we have no resolution to this at all and we must have that jumps a jump of
18:50lesson into doug's arms why don't you do the tape oh yeah how did you approach your cutting in hollywood
19:00but i would cut every night after shooting as you went right i'll usually have a rough cut in the film
19:06within a week after i finished
19:12but this is different this is a
19:13this is a method of teaching that we've come out with the film is
19:25we hope a very lucky accident
19:34now crescendo right from here before this part comes in before that now uh let's listen to another
19:42uh take if you can okay because i i have one which is almost on the nose
19:47which is when do you want the crescendo begins while we're on their backs
19:51oh right while we're on the back right right right so if i cut two bars i think that will uh
19:56no the two bars will bring you into the la la la la how have you organized your students work on
20:01this production following a rotation system with uh somebody being on one sequence somebody else
20:07being on another sequence and finding a uh that a person who may be emotionally involved
20:18in one sequence may not be doing as good an editing job as somebody else might do
20:23take him off put him onto something else
20:28do you find you can you get a consistent rhythm to the picture with that's my final job
20:32but everything that goes through here now goes from me
20:41finally there can only be me finally there must be the director whenever you're ready luke yeah
20:48okay 16 good turn up the lights please when the young french critics first began to develop the otoe theory
20:54the concept of the director as the central creative force in the making of a film
20:58was a new one no other american director attracted more sustained enthusiasm from francois truffaut jean
21:04luke godard and their colleagues than nicholas ray je crois que ce qui nous avait attiré c'est qu'il y
21:11avait quelque chose d'européen chez cet homme d'hollywood en fait et qu'est-ce qu'il y avait d'européen
21:17c'était peut-être la fragilité la vulnérabilité des personnages principaux bien qu'il tournait quelquefois
21:23avec des vedettes comme john wayne ou frais bogart et ses personnages masculins n'était pas macho et
21:29ou sterling gaiden il y avait cette grande sensibilité et surtout dans le traitement je
21:37dois dire des histoires sentimentales qui donnaient une impression de très grande réalité à une époque
21:42où le cinéma d'hollywood n'était pas facilement personnel ou autobiographique on avait toujours
21:47l'impression que les histoires d'amour de dans les films de nicolas ray étaient des histoires vraies
21:51j'ai dit une fois et je suis prêt à le redire aujourd'hui devant cette caméra j'ai dit une
22:02fois qu'un film comme johnny guitar a eu plus d'importance dans ma vie que dans celle de nicolas
22:07serait c'est à dire que c'est un film pour lequel je me suis pris de passion dès que je l'ai vu mais
22:11j'étais critique au moment où je l'ai vu j'ai écrit dessus et j'ai écrit dessus plusieurs articles et
22:15on a commencé d'ailleurs comme ça une correspondance avec nicolas ray mais je parlais de ça à propos de
22:21johnny guitar qui est un film effectivement qui a une très grande importance dans ma vie je ne sais
22:25pas pourquoi parce que je vais trouver très fort très profond sur les relations hommes femmes et
22:31je crois que c'est le seul film c'est le seul film dans lequel j'ai vu traiter un thème qui est très
22:37intéressant dans un certain stade des relations amoureuses qui est l'amertume l'amertume de gens
22:43qui se sont aimés qui ne s'aiment plus et qui se revoient et je crois qu'aucun film n'a traité ça aussi
22:48bien que j'ai une guitare
23:01as their concept of the film evolved ray and his students continually revise their
23:06scenario endlessly reshooting sequences by this time they've been working together for nearly two years
23:13as the project shortage of funds grew critical production would cease intermittently for want
23:29of cash to buy film stock ray fell ill that winter and suffered from bouts of despair the company
23:49would work when it could from noon throughout the night until dawn and bitter cold functioning on a few
23:54hours sleep snatched between takes action
24:05i don't think that i could have gotten him or i could ever get him such a good acting teacher i think
24:11he's the greatest teacher of acting in the world i'm really excited by that and the reason that i still work on the film
24:19because i've wanted to leave you know now for since may is because um this relationship that i have with nick
24:29is still very exciting the energy is still very high
24:34you don't even take time with me anymore play your partner else get your ass off my concentration is on him in this angle and i don't want your personal hostility or whatever the hell you are feeling to take a part in the film at this point not at all not at all at all at all
24:57Leslie
25:04my personal hostility
25:08my personal hostility is not involved in the film it's not involved when i woke you there to there
25:12so i don't know what you're talking about
25:16well then honey you haven't learned anything about acting
25:19if that's if that's you know your judgment
25:22right
25:23keep it
25:24but i remain immune to it
25:28if i know what i know
25:30you sure know our your immunity you know
25:33yes
25:34i i
25:36will not try to convince you
25:39i will not try to convince you
25:41all you all you can do is just
25:45cut ass out
25:48if i waited for you four hours tonight that meant that i didn't wait for you
25:52you didn't wait for me for four hours
25:53i did fucking two
25:54i beg your pardon
25:55i beg your pardon
25:56i beg your pardon
26:01tell me when you waited for four hours for me
26:03from 8 15 till 12
26:058 15 you called
26:06that's right
26:07who did you talk to
26:09you
26:11judy
26:13so how did you wait for me
26:15because she's part of the crew
26:17i thought there's some kind of communication
26:30we waited for you for christ sake
26:32well how was i going to get over here
26:34somebody was going to come after you
26:36but they didn't
26:37you called
26:38and i called and no one came
26:39and you were going on to campus
26:40i was not
26:41you said don't go on campus
26:43i did not go on campus
26:44because then it would take even an hour
26:46you're talking bullshit
26:47i am not
26:48you're talking petty bullshit
26:50i am not
26:51four hours is a lot of time
26:52you want to talk about the part i'll talk about the part
26:55i will not talk about petty bullshit
26:57it's not petty bullshit it's a matter of time
26:59that's all
27:00and if time is of the essence in this film
27:03then it's not petty
27:04and if time is of the essence in this film
27:05then it's not petty
27:15do you have any questions about this?
27:17no i just went from there to there
27:19no i just went from there to there
27:20no i just went from there
27:21no i just went from there
27:22it was that
27:23is
27:24no i could believe
27:25no i can't
27:27no i can't
27:29i can't
27:30that's what it is
27:31no i don't want to feel
27:32no i can't
27:33i don't want to feel any kind of
27:35reluctant
27:36at all
27:49at all. You should. It's for the sea. Because you want to do that thing for him. To show
28:02him. So it's with reluctance you give them to her. And that is, this is the only moment
28:10of heroic action. All right, ready for picture, please. Ready. Less okay. Roll them.
28:22Sound on. Camera on. Action. All right, now, turn that way again.
28:40Sorry. All right. I like this very much. I just want to see the other kind of graciousness
29:01come into it. I want to extend, extend the moment a little longer. Because what may
29:16take a moment or just a second in the thought is the kind of miracle we film where you can
29:31extend that thought into 30 seconds, 40 seconds. Now we want to extend it to 8 seconds.
29:39The move was good. All right. So I think it's the move first and then the, okay darling,
30:02you, you do it. Leslie. Ah. Wonderful. Thanks. I try not to direct them until just before the
30:25scene, which was part of what the hassle was about last night. And, but when the person has
30:30the stink of the gallows about her, then you, then you're bound to run into the same thing
30:37that you might run into with a Tallulah bank head or a, well, hell, I've only had two fights
30:51with actors in my life, really. And you use what is of their essence at the moment. Because
31:03that is their easiest reference point. And you have to be aware of that and how to agitate
31:08it, how to, uh, make it work for you in the scene. What their immediate concern is.
31:17He showed me about a year ago little bits of the Bingham film and some of them were, I
31:22couldn't tell what the whole film was like at all. I mean, there wasn't enough of it. But
31:26I saw a couple of sequences that were quite amazing and, uh, really reminded me of Nick's, uh,
31:33kind of, uh, of talent which he was showing in the, in the days when he was making Rebel
31:38Without a Cause and those, uh, extremely, uh, passionate and vital pictures about the young.
31:46How did you get the part in Rebel?
31:48Well, um, Nick made a lot of tests, um, of different girls. I think there were about
31:54fifty of us and it sort of narrowed down. There were fifty to begin with and the second day
31:58it was down to ten and the third day I think it was down to, uh, five or six. But the big
32:04problem was, um, that I had really up to that point only played children and although I was
32:09fifteen, the last thing I did was in pigtails or something. And so I, I was finding it difficult
32:14to convince, and Nick was also finding it difficult to convince the studio that I was out of pigtails.
32:19So one day I came on an interview with a boyfriend who had a cut on his face and Nick said,
32:25where did he get that? And I said, drag racing. And then, shortly afterward, I was actually
32:32in a, a bad car accident with Dennis Hopper, in which Dennis was driving too fast and we
32:37were all thrown from the car and brought to the hospital. And I was sort of semi-conscious
32:43and they were, the police were called and they were asking me my parents' phone number
32:48and I kept saying, it's Nick Ray, call Nick Ray, and the number is, so forth and so forth,
32:53the number of the Chateau Marmont. And I just kept repeating that. And so that's who they
32:57did call. And, uh, Nick sent his doctor down to the hospital and then he came down and I
33:02said, Nick, they called me a goddamn juvenile delinquent. Now do I get the part.
33:06And you got it. And I got it. No director that I'd ever worked with had ever, uh, improvised.
33:12And, uh, Nick's bungalow at, uh, the Chateau Marmont where he lived, uh, was the, um, the set was
33:21built from that so that when we rehearsed, we really rehearsed as though in a set and we
33:26improvised most of the scenes. Could you tell us something about the relationship
33:31the relationship between Nick Ray and Jimmy Dean? Well, um, they obviously had become very close
33:38because before the film started, they sort of hung around together and, um, as you mentioned,
33:42went to New York and, uh, so that Jimmy trusted Nick a great deal. And I think Jim, uh, Nick
33:48was very fatherly towards Jimmy. I mean, he was to Sal and to myself as well. Um, but I think Nick just
33:57absolutely understood Jimmy. They were just completely in tune and personality. I, I, I guess
34:02maybe Jimmy reminded Nick of himself a great deal so that there was never any friction as
34:07there was between, uh, Jimmy and other directors that he worked with. And it was just a, uh,
34:12a wonderful blend. And, uh, Nick brought out this feeling of trust in Jimmy.
34:18But working with Jimmy was...
34:21like a real, real joy. The, the, uh, uh, but I had, had the advantage of his having worked
34:33with Kazan and where, where he at least had a, a method of beginning. I developed the method
34:46a little bit more because Kazan and I had matriculated about the same time in the theater.
34:54And he had taught me a lot. I, I think I'm, I think the nicest thing Gaj ever said to me
35:01was, how did you get that spontaneous performance out of Jimmy? But method changes with damn near every actor.
35:11Uh, and I honored his imagination more than almost anything else. Dean was the only one in the cast
35:18who had any real comprehension of, of method or of the school of theater in which I had grown up. And, uh,
35:32uh, you couldn't use the word improvise. If you used the word improvise with people like Andoran
35:39or, or, uh, Jim Backus or Virginia Brissac, uh, they'd say, oh, this, oh, this artsy school, hmm?
35:49And, and, uh, uh, so you'd, I'd use old vaudevillian terms. The director has to be able to work with
35:59everybody from every, every school, you know? No cast is ever made up of really the same people, the same background.
36:10Uh, so you have to use all the techniques you've ever learned, whether it's that, what you've learned from a vaudevillian
36:19or from an old leading man like Fuller Mellish who came over with Henry Irving and Minnie Madden Fisk
36:25or, or, uh, burlesque people like Red Buttons or, or, uh, Phil Silvers or, uh, uh, uh, or from miners
36:40or shrimp fishermen or, uh, uh, or your own peers as you grow up at the theater. It's, uh, uh,
36:53a Cary Grant, for instance, is a, as a fellow like Duke Ellington has in, in his trunk so many tunes.
37:06Well, Cary Grant has so many notes of sunsets, so many jokes, so many things that he's collected
37:14and remained collecting every single year of his life, you know, that, that is his, his memory, his effective memory,
37:22is always implemented by an easy reference, you know. He has them in the trunk, he doesn't have to refer to them
37:31because the compartments of the brain have them, but having written them down, having noted them,
37:36having taken the, the, uh, the visual memory of, like that tree between those two little sacks there,
37:49being something which you might remember in the scene, say, why don't we use that?
37:58After Rebel Without a Cause, Nicholas Ray continued to produce some extraordinary work.
38:03Although he was one of Hollywood's most respected directors, Ray still suffered studio interference
38:08that Baudelarized his conception on several films, and he began to work abroad.
38:13Thereafter, he drifted from one project to another through the Byzantine complications of independent production
38:19and multinational financing. Compromises were still required, but Ray did enjoy a measure of autonomy
38:25beyond that generally accorded him in Hollywood. Then, in 1960, he was drawn into the world of blockbuster spectacles.
38:34Although he brought his immense visual talent and some original conceptions to the rather inflated material,
38:39Nicholas Ray seemed glaringly out of place, overseeing the massive technology and impersonal logistics
38:46of a king of kings or a 55 days at Peking.
38:51Uh, why did he get discouraged? Uh, this is the terrible evil, I think, of the Hollywood system.
38:57I think you, uh, end up, because you do get screwed occasionally by studios, you do get frustrated,
39:05uh, they do mess up your work and make it more difficult for you to work,
39:09or they did, in those days when the studios really existed, they don't really exist anymore,
39:13uh, in that sense. Um, I think Nick, uh, was probably much more vulnerable than other people.
39:19Everybody has this, but whereas a man like Kazan, uh, was able, who's tough as nails,
39:25was able to take it in stride, I think Nick, finally, was, uh, partially destroyed by it,
39:30and became almost perverse in his, uh, in his resistance, in his, uh, uh, almost being prepared to be screwed
39:39before, uh, anticipating the screwings before they actually occurred.
39:44Now that is not rare. That happens to many directors and many people who work in the business.
39:50It affected Nick more than other people.
39:53Most, uh, film courses or film classes, uh, uh, concentrate on, uh, you know, getting rid of the responsibilities of the students
40:08as quickly as possible by putting them off in corners and shooting eight millimeter films,
40:12which they can do all by themselves and, uh, present for a senior thesis.
40:21They have, therefore, the emphasis is on kind of static camera,
40:26with a, uh, uh, with cute ideas or masturbatory ideas or date-making ideas,
40:36or anything except the, uh, relationship with other human beings.
40:43And film is a collective art. It's an eclectic art. It's a collective art.
40:48And, uh, and it's, uh, by its own nature, become the most communicative art that we have in the world.
41:00And the only two great ambassadors we've ever had from the United States have been jazz and film.
41:07And that doesn't come from sitting off in a corner.
41:12For all his hardships, Nicholas Ray remains both intransigent and optimistic,
41:26facing an uncertain future, determined to make films in his own way.
41:30In a sense, each project he undertakes might be likened to the blind run in Rebel Without a Cause,
41:36as a slightly mad test of courage that leads him up to and perhaps over the edge of disaster.
41:42While Ray did find in Binghamton momentarily a kind of community and collective endeavor
41:47for which he had long been searching, in the end, Nick Ray knows that he must drive his blind run alone.
41:53As he has often remarked, the working title of every film he has ever made has been,
41:58I'm a stranger here myself.
42:02Uh, the low camera on this, uh...
42:16It might be good emotionally for you to take the low camera.
42:21If she's putting the blankets on Tom...
42:28Yeah.
42:31Huh?
42:32Yeah, go ahead.
42:33That you tip up to her.
42:36What do you mean, I take a camera that's...
42:38That's the low camera, Tom.
42:40As the blankets come on to her, huh?
42:43You should live 75 here.
42:46And, uh, you tip up to her.
42:49I think this is...
42:52Emotionally a good thing.
42:53All right.
42:54Okay.
42:57What inch, please?
42:58Um...
42:59One fifty-five.
43:00You look very beautiful to me.
43:03That's a wrap.
43:05That's a wrap.
43:07That's a wrap.
43:25You
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