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Im a Stranger Here Myself (1975)
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00:00El Espíritu Santo
00:30El Espíritu Santo
01:00El Espíritu Santo
01:30El Espíritu Santo
01:32El Espíritu Santo
01:34El Espíritu Santo
01:36El Espíritu Santo
01:38El Espíritu Santo
01:40El Espíritu Santo
01:42El Espíritu Santo
01:44El Espíritu Santo
01:46El Espíritu Santo
01:48El Espíritu Santo
01:50El Espíritu Santo
01:52El Espíritu Santo
01:54El Espíritu Santo
01:56El Espíritu Santo
01:58El Espíritu Santo
02:00El Espíritu Santo
02:02Hell, when I first got to France and read the critiques of René, Godard, Truffaut, Romain,
02:11I didn't know who the hell they were talking about.
02:15But that's the way films should be.
02:17An artist should not moralize.
02:21A person who has the audacity to make a film in the first place
02:27shouldn't ever consciously put his own neurosis on screen.
02:33Well, most of your heroes are pretty neurotic.
02:38My heroes are no more neurotic than the audience.
02:42Unless you can feel that a hero is just as fucked up as you are
02:47and that you would make the same mistakes that he would make,
02:51you can have no satisfaction when he does commit a heroic act.
02:58Because then you can say, hell, I could have done that too.
03:04And that's the obligation of the filmmaker, of the theater worker,
03:07to give a heightened sense of experience to the people who pay to come to see his work.
03:16From 1947 to 1962, Nicholas Ray directed some of the most richly personal work in American cinema.
03:31Yet in 1971, when he accepted a teaching post at Harper College in Binghamton, New York,
03:35he had not completed a film in nearly a decade.
03:39At Binghamton, Ray trained his students to be a working production unit,
03:43teaching them filmmaking by shooting a feature film
03:45as a collaborative, creative effort under his supervision.
03:48Born in 1911, Nicholas Ray left his hometown of La Crosse, Wisconsin at 16
04:12to study under Frank Lloyd Wright.
04:14After a brief university career, Ray emigrated to New York City at the height of the Depression.
04:21There he became involved in the lively experimental theater of the 30s,
04:25working as an actor with such politically progressive groups
04:28as the Workers' Theater and the Federal Theater Project,
04:31which included the Living Newspaper.
04:34It was there that Ray learned the improvisational methods that he would employ in Hollywood
04:38and would still be using with his students in Binghamton more than 30 years later.
04:42It began on East 12th Street, not a few blocks from here.
04:50Led to my association with Kazan and Hausman,
04:54from whom I learned more than any other two people in the world.
04:58I worked in a workers' theater.
05:13We graduated to Broadway.
05:17And somehow or other, one day Kazan said,
05:20come on, you've been spending enough time in radio, theater, television.
05:24I'm going out to Hollywood to make my first film.
05:30Come on along and help me.
05:36Hausman, same thing.
05:38I suppose I've collaborated with Hausman on more things than anybody else I've ever worked with.
05:44Nick had come to New York during the depths of the Depression,
05:49when life was very strange, sort of rather desperate,
05:54and at the same time extremely hopeful,
06:00and there was almost no limit to the dreams one could have,
06:04because everything was so terrible that everything was dreams.
06:06Nick was himself a very vulnerable, very sensitive,
06:12almost too sensitive person in some ways,
06:17and in some ways very aggressive and assertive,
06:21in other ways extremely reticent and shy,
06:24and that combination is very good for a director with actors.
06:27Particularly, his real talent lay in what he could do
06:32with very young and tender and sensitive and insecure people,
06:37like Kathy O'Donnell Farley Granger.
06:52Hello, hello.
06:54Hello.
06:57Do you do the marrying?
06:58That's my business.
07:00I have a $30 wedding,
07:01which gives it completely according to the ceremony on records.
07:03I have a $20 wedding.
07:04Will you just marry us?
07:05That'll be $20.
07:07Kitty, Herman.
07:08Who are they?
07:09My 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.
07:27Now, rent your ring for a dollar, or sell you one for five.
07:52Okay.
07:53I'll buy one.
07:55And this one will do it.
07:57By virtue of the power vested in me,
08:01I hereby perform this wedding ceremony.
08:04Do you, Catherine, take this man, Arthur,
08:06as your lawful wedded husband, to love, honor, and cherish henceforth?
08:11Do you, Catherine, take this woman, Catherine, as your lawful wedded wife, to love, honor, and cherish henceforth?
08:17Do you, Catherine, take this woman, to love, honor, and cherish henceforth?
08:22By virtue of the power vested in me, I hereby perform this wedding ceremony.
08:29Do you, Catherine, take this man, Arthur, as your lawful wedded husband, to love, honor, and cherish henceforth?
08:34I do.
08:35Do you, Arthur, take this woman, Catherine, as your lawful wedded wife, to love, honor, and cherish henceforth?
08:40I do.
08:41Well, put the ring on her finger.
08:46Now, by virtue of the power vested in me,
08:49I now pronounce your husband and wife.
08:56Tipper means your dollar.
09:05Wish all the health, happiness, and wealth in the world.
09:09Herman, you got a cold.
09:12I'm sorry.
09:13I have.
09:15That'll be $20 plus five for the ring.
09:18You don't think much of my way of marrying people, do you?
09:27I sure don't.
09:28Well, me neither.
09:29I'm giving folks what they want.
09:31My way of thinking, folks ought to have what they want.
09:34As long as they can pay for it.
09:36Nick has always made almost all his best pictures, actually,
09:40have been about people whom society was oppressing and society was crushing,
09:46and who were almost doomed to be defeated by society.
09:51Well, Nick himself is not altogether outside that category.
09:55In 1962, having become one of the highest-paid American directors,
10:01Nicholas Ray dropped out of the film industry,
10:03plagued by personal problems and discouraged by the compromises of commercial moviemaking.
10:08For Ray, the 60s were a long, murky period,
10:12marred by a stream of unrealized projects and by failing health.
10:16In 1969, he returned to the United States after a 10-year absence
10:20to make a film about the Chicago conspiracy trial.
10:25What was it that captured your attention with the conspiracy trial?
10:29Well, it was the greatest circus of bigotry I'd ever heard,
10:34directed against young people who were the,
10:39now the 32- and 33-year-old equivalents of James Dean,
10:45who wrote pamphlets that were of such sophomoric and collegiate humor,
10:52like the stuff you write before homecoming games,
10:56which were taken seriously by the court.
10:59One day, Lee Weiner came to me and asked if I were a friend of Groucho Marx's,
11:06and I said, yes.
11:09He said, do you suppose we could get Groucho as an expert witness for us?
11:17And so we'll try.
11:20And he said, somebody has to explain our sense of humor.
11:26And he's the only man in the United States that we know of
11:28who can explain our sense of humor.
11:34And to see Dave Dellinger, the oldest of the group,
11:39and a Quaker pacifist,
11:45be the only one to put his body in front of Bobby Seale
11:50to protect him from the blows of the police.
11:55There's so many things.
11:59I'll make it someday.
12:02After we finish this one, maybe.
12:04And the next one.
12:05Hey, you bums, look at them.
12:13Hey, look at that bunch of,
12:14look at those magnificent bastards in there.
12:17Hey, get a shot of those cats in there.
12:19Well, I was talking to Howard Hughes.
12:23Oh, get in the window, you smuck.
12:25Hey, get in the window.
12:26Yeah, yeah.
12:27And he says you're a bastard.
12:31Nick came in and virtually changed the whole cinema department,
12:38the whole idea of filmmaking.
12:40And I think he has a huge amount of insight into everybody.
12:45He's known for a while.
12:47And he uses, he employs those insights
12:52for characters in a film, even.
12:55He's a con artist, and he knows how to manipulate people,
13:02if that's an acceptable word.
13:05But that's part of the talent of a director.
13:08He's always wanted to be cherished by young people.
13:13And he scorns his own generation,
13:15which has rejected him, apparently.
13:20And he just likes working with young people.
13:22As far as his role in the film,
13:25which is an essential part of the whole film,
13:29he's, as a character,
13:32I guess he's something like the parole officer in Rebel,
13:35always caring for young people.
13:38And he's been like a father to us and a counselor
13:42and a teacher at the same time.
13:47Ray's unconventional teaching methods
13:49demanded intensive involvement from his students,
13:51leading them to adopt a communal living arrangement
13:54that brought down continual harassment
13:56from conservative university authorities.
13:58Eventually, the group was forced to move to a farm
14:00just outside of town.
14:02Gradually, under Ray's direction,
14:04teacher and students alike
14:05attempted to develop an original approach to filmmaking
14:08that would express in a new way
14:10the process of self-discovery
14:12that has always been one of Nick Ray's central themes.
14:15Look, I like this quality on,
14:17I like this quality on here
14:18better than I like the correction one.
14:22The overexposed one.
14:25Why do you like that one better?
14:26Because I like it better.
14:31Now, look, this is dull.
14:33This is one of the many aesthetic characters in the world.
14:36Look at it.
14:37I know which thought it is.
14:38I know which thought it is.
14:39Well, this is dull as hell, you know?
14:41How did Bogart take to playing the part of the writer
14:47in In a Lonely Place,
14:48which is rather a departure for him?
14:51Well, I had taken the gun away from his hand
14:54for the first time in Knock on Any Door.
14:59And the second time,
15:02he was ready for it,
15:08a little bit more ready for it.
15:09And he obviously loved it.
15:14It's one of his favorite films.
15:18But it was a very personal story.
15:23A very personal story.
15:25The last part of it,
15:28I had written with Andrew Solt
15:30and Bundy and Solt had headed east.
15:40In the meantime,
15:41I had separated from my wife, Gloria Graham,
15:44who was playing opposite Bogey.
15:46And if I had let the producer, Bobby Lord,
15:52or Bogey know that,
15:54they would have gone crazy,
15:56or Harry Cohn would have gone crazy.
15:58And so I said,
15:59well, look, I'm having trouble with the third act.
16:03Make an apartment for me
16:05out of a couple dressing rooms.
16:06Because I don't want to drive to Malibu every night.
16:11And I want to get down and get on stage
16:16and work at night.
16:19Which I did.
16:20And Gloria behaved beautifully.
16:21Nobody knew that we were separated.
16:23And I just couldn't believe the ending
16:29that Bundy and I had written.
16:32I shot it because it was my obligation to do it.
16:35Then I kicked everybody off stage
16:37except Bogart, Art Smith, and Gloria.
16:41And we improvised the ending as it is now.
16:45The original ending we had written
16:47so that it was all tied up into a very neat package
16:50of Frank Lovejoy coming in and arresting him
16:53as he was writing the last lines
16:55having killed Gloria.
16:58And I thought, shit.
17:01I can't do it.
17:02I just can't do it.
17:03Romances don't have to end that way.
17:07Marriages don't have to end that way.
17:08They don't have to end in violence,
17:10for Christ's sake, you know.
17:13And let the audience find out
17:15and make up its own mind about
17:17what's going to happen to Bogey
17:20and when he goes outside of the apartment area,
17:25which was the first apartment I lived in
17:27in Hollywood, by the way.
17:29This is a very personal film.
17:36Bogart plays a neurotic screenwriter
17:38with a violent temper
17:39who is unjustly suspected of murder.
17:42The police investigation places an intolerable strain
17:44on his relationship with Gloria Graham.
17:46Right there.
17:50The moment we see them together and talking,
17:53right after my rap for the detective.
17:56Working within the studio system,
17:58Ray, like other directors,
18:00often had to relinquish control of a picture
18:02at the vital stage of editing.
18:03Can we mix the speaker over this?
18:09Right.
18:10There we are.
18:11That's the thing.
18:14Ah!
18:23Which take is this?
18:24This is like take four or something.
18:26Listen to take six.
18:27Six?
18:28Yes, there is one.
18:29Right there.
18:30And also,
18:33I want to put back in,
18:34because in seeing the
18:36the assemblage in Boston,
18:40it struck me that we have no resolution
18:44to this at all,
18:45and we must have
18:47that jump,
18:49that jump of Leslie
18:50into Doug's arms.
18:52Why don't you do the tape?
18:53No.
18:55Oh, yeah.
18:55How did you approach
18:58your cutting in Hollywood?
19:00But I would cut every night
19:01after shooting.
19:02As you want.
19:04I'll usually have a rough cut
19:05in the film
19:06within a week
19:07after I finish.
19:12But this is different.
19:13This is a...
19:14This is a method of teaching.
19:19that we've come out
19:21of the film
19:22is,
19:23we hope,
19:25a very lucky accident.
19:26Ah!
19:34Now,
19:35crescendo,
19:36right from here.
19:37Before that.
19:38Before that.
19:38This part comes in before that.
19:40Now,
19:41let's listen to another take
19:42if you can.
19:43Okay.
19:44Because I have one
19:46which is almost on the nose.
19:47When do you want the crescendo?
19:49The crescendo begins
19:49while we're on their backs.
19:51Oh, right.
19:51While we're on their backs.
19:52Right, right.
19:53Right, so if I cut two bars,
19:54I think that will...
19:55No,
19:56the two bars
19:57will bring you into
19:58the la-la-la-la.
19:59How have you organized
20:00your students' work
20:01on this production?
20:02Following a rotation system
20:04with somebody being
20:06on one sequence,
20:07somebody else being
20:08on another sequence.
20:10And finding a...
20:12that a person
20:15who may be
20:16emotionally involved
20:17in one sequence
20:19may not be doing
20:20as good an editing job
20:21as somebody else
20:22might do.
20:23Take him off,
20:24put him onto something else.
20:28Do you find you...
20:29Can you get a consistent rhythm
20:30to the picture with...
20:31That's my final job.
20:34Everything that goes
20:35through here now
20:36goes through me.
20:41Finally,
20:41there can only be the...
20:43Finally,
20:44there must be the director.
20:46Whenever you're ready, Luke.
20:48Yeah, okay.
20:49Sixteen, you're ready.
20:50Turn up the lights, please.
20:51When the young French critics
20:52first began to develop
20:53the O2 theory,
20:54the concept of the director
20:55as the central creative force
20:57in the making of a film
20:58was a new one.
20:59No other American director
21:01attracted more sustained enthusiasm
21:02from Francois Truffaut,
21:04Jean-Luc Godard,
21:05and their colleagues
21:06than Nicolas Ray.
21:07I believe that
21:09what was attracted to us
21:10was that there was
21:11something of European
21:13in this man of Hollywood,
21:14in fact.
21:15And what there was
21:16of European,
21:17it was perhaps
21:17the fragility,
21:19the vulnerability
21:19of the main characters.
21:22Even if they were
21:22at some point
21:23with some vedettes
21:24like John Wayne
21:25or Fred Bogart,
21:26these masculine characters
21:28were not machos
21:29or Sterling Hayden.
21:31There was
21:31this great sensitivity
21:33and especially
21:36in the treatment
21:37I must say
21:37of the sentimental stories
21:39which gave an impression
21:40of a very great reality.
21:41At an era
21:42where the cinema
21:42of Hollywood
21:43was not easily
21:44personal
21:45or autobiographical,
21:46we had always the impression
21:47that the stories
21:48of love
21:48in the films
21:49of Nicolas Ray
21:50were real.
21:58I said once,
21:59and I'm ready
21:59to say today
22:00on this camera,
22:02I said once
22:02that a film
22:03like Johnny Guitar
22:04a more importance
22:05in my life
22:06than that of Nicolas Ray.
22:07It's a film
22:08for which I was
22:08passionate about it
22:10since I saw it.
22:11I was criticized
22:11when I saw it.
22:12I wrote it.
22:14I wrote it.
22:14I wrote it.
22:14I wrote it.
22:14I wrote it.
22:15I wrote it.
22:15I wrote it.
22:15And we started
22:16like that
22:17with Nicolas Ray.
22:20But I spoke
22:20about Johnny Guitar
22:22which is a film
22:22which has a very
22:23great importance
22:24in my life.
22:25I don't know why
22:25because I found it
22:26very strong,
22:27very profound
22:28on the relations
22:30men-to-women
22:30and I believe
22:31that it's the only
22:32film,
22:33it's the only film
22:36in which I saw
22:36traiter a theme
22:37which is very
22:38interesting
22:38in a certain
22:39stage of the
22:40relationship
22:40which is
22:41the amertume.
22:42The amertume
22:42of people
22:43who loved themselves,
22:44who no longer
22:44and who re-see themselves
22:45and I believe
22:46that no film
22:47has treated
22:47that as well
22:48as Johnny Guitar.
22:49As their concept
23:02of the film evolved,
23:04Ray and his students
23:05continually revised
23:06their scenario,
23:07endlessly reshooting
23:08sequences.
23:11By this time
23:12they've been working
23:13together for nearly
23:13two years.
23:14How less,
23:16what I feel
23:17is that I want
23:17to give.
23:19Right,
23:19I know.
23:20It's very difficult
23:21now.
23:24As the project's
23:25shortage of funds
23:26grew critical,
23:28production would
23:28cease intermittently
23:29for want of cash
23:30to buy film stock.
23:32Ray fell ill that
23:33winter and suffered
23:34from bouts of despair.
23:35The company would
23:49work when it could
23:50from noon
23:51throughout the night
23:52until dawn
23:52in bitter cold,
23:53functioning on a few
23:54hours sleep
23:55snatched between takes.
23:59Action!
24:05I don't think
24:06that I could
24:07have gotten
24:07or I could
24:08ever get
24:09such a good
24:10acting teacher.
24:10I think he's
24:11the greatest
24:11teacher of acting
24:13in the world.
24:15I'm really
24:15excited by that.
24:16And the reason
24:17that I still
24:18work on the film
24:19because I've
24:20wanted to leave
24:21now since May
24:24is because
24:27this relationship
24:29that I have
24:29with Nick
24:29is still
24:31very exciting.
24:32The energy
24:33is still
24:33very high.
24:35You don't
24:37even take
24:37time with
24:38me anymore.
24:39Play your
24:39part or else
24:40get your ass
24:41off the set.
24:42My concentration
24:42is on him
24:43in this angle
24:44and I don't
24:45want your
24:46personal hostility
24:48or whatever
24:49the hell
24:49you are feeling
24:50to take a
24:51part in the
24:52film.
24:53At this point,
24:54not at all.
24:56Not at all,
24:57at all,
24:57at all,
24:58Leslie.
25:05My personal
25:08hostility
25:08is not
25:09involved in
25:09the film.
25:10It's not
25:10involved when
25:11I woke
25:11from there to
25:11there.
25:13So I don't
25:14know what you
25:14told me about.
25:16Well,
25:17then,
25:17honey,
25:18you haven't
25:18learned anything
25:19about acting.
25:20If that's,
25:21if that's,
25:21you know,
25:22your judgment,
25:23you're fine.
25:23Keep it.
25:27But I remain
25:28immune to it.
25:29If I know
25:30what I know.
25:30You sure
25:30know your
25:32immunity,
25:33you know.
25:33Yes.
25:36I,
25:36I will not
25:38try to convince
25:39you.
25:40I will not
25:41try to convince
25:41you.
25:43All you,
25:43all you can
25:44do is just
25:45cut ass
25:47out.
25:49If I waited
25:50for you four
25:51hours tonight,
25:51that meant
25:52I didn't
25:52wait for me
25:53for four
25:53hours.
25:55I beg
25:55your pardon.
25:56I beg
25:57your pardon.
26:00Tell me
26:02when you
26:02waited for
26:02four hours
26:03for me.
26:03From 8.15
26:04till 12.
26:058.15
26:06you called?
26:07That's right.
26:08Who did
26:09you talk
26:09to?
26:10Judy.
26:14So how
26:14did you
26:15wait for me?
26:16Because
26:16she's part
26:17of the
26:17crew.
26:18I thought
26:19there's
26:19some kind
26:19of
26:19communication.
26:20we waited
26:31for you
26:32for
26:32Christ's sake.
26:33How was I
26:33going to get
26:34over here?
26:35Somebody was
26:36going to come
26:36after you
26:37and we
26:37called.
26:38And I
26:38called and
26:39no one
26:39came.
26:39You were
26:39going on
26:40the
26:40campus.
26:40I was
26:41not.
26:41You said
26:42don't go
26:42on campus.
26:43I did not
26:44go on campus.
26:44Because then
26:45it would
26:46take even
26:46an hour.
26:46You're
26:46talking
26:47bullshit.
26:47I am
26:48not.
26:49You're
26:49talking
26:49petty
26:50bullshit.
26:50I am
26:50not.
26:51Four hours
26:52is a lot
26:52of time.
26:52You want
26:53to talk
26:53about the
26:54part?
26:54I'll talk
26:54about the
26:55part.
26:55I will
26:56not talk
26:56about
26:56petty
26:57bullshit.
26:57It's not
26:58petty
26:58bullshit.
26:58It's a
26:58matter
26:59of time.
26:59That's
27:00all.
27:02And if
27:02time is
27:03of the
27:03essence in
27:03this film,
27:04then it's
27:04not petty.
27:16Do you
27:16have any
27:17questions
27:17about
27:17this?
27:18No,
27:19I just
27:19went from
27:19there to
27:20there.
27:32The
27:33actual
27:33scene
27:33for
27:34what
27:34it
27:34is.
27:36How do
27:37you feel?
27:38How do I?
27:39Right.
27:40Even though
27:40I love
27:41you.
27:43Good.
27:44The
27:45letter
27:45one.
27:46I don't
27:48want to
27:48feel any
27:48kind of
27:49reluctance
27:49at all.
27:51You
27:52should.
27:55It's
27:55for the
27:55scene.
27:57Because you
27:58want to do
27:59that thing
27:59for him.
28:01To show
28:02him.
28:04So it's
28:04with reluctance
28:05you give
28:06them to
28:06her.
28:07And that
28:08is the
28:09only moment
28:10of heroic
28:11action in the
28:12scene.
28:12All right,
28:16ready for
28:16picture,
28:17please.
28:19Ready.
28:20Less okay.
28:22Roll them.
28:23Sound on.
28:24Camera on.
28:24Speed.
28:25Action.
28:33All right,
28:34now,
28:35turn that way
28:36again.
28:49Sorry.
28:51All right.
28:57I like
28:58this very much.
28:59I just want to see
28:59the other
29:00kind of graciousness
29:02coming to it.
29:03I want to
29:09extend
29:09extend the
29:12moment a little
29:13longer.
29:15Because what
29:16may take a
29:18moment in
29:18or just a
29:22second in the
29:23thought
29:23is the kind
29:27of miracle
29:27we film
29:28where
29:28you can
29:31extend that
29:31thought into
29:3230 seconds,
29:3540 seconds.
29:37Now we want
29:38to extend it
29:39to 8 seconds.
29:48The move
29:49was good.
29:51All right.
29:57So I think
29:58it's the move
29:59first
30:00and then
30:01name.
30:02Okay,
30:02darling,
30:03you.
30:04You do it.
30:16Leslie!
30:17Ah.
30:19Wonderful.
30:21Thanks.
30:22I try not to
30:23direct them
30:23until just
30:24before the
30:25scene,
30:25which is part
30:26of what the
30:26hassle was
30:27about last
30:28night.
30:29But when
30:30the person
30:30has the
30:31stink of
30:31the gallows
30:32about her,
30:34then you're
30:39bound to run
30:39into the same
30:42thing that you
30:43might run into
30:43with a Tallulah
30:44bank head.
30:45Well, hell,
30:51I've only had
30:52two fights
30:52with actors
30:53in my life,
30:54really.
30:56And you
30:57use what
30:58is of their
30:59essence at
31:00the moment
31:00because that
31:04is their
31:04easiest reference
31:05point,
31:06and you have
31:07to be aware
31:07of that
31:08and how to
31:08agitate it,
31:10how to
31:10make it work
31:13for you
31:13in the
31:13scene
31:14what their
31:15immediate
31:15concern is.
31:18He showed
31:18me about
31:19a year ago
31:20little bits
31:20of the
31:21Bingham film
31:21and some
31:22of them
31:22I couldn't
31:23tell what
31:23the whole
31:24film was
31:25like at all.
31:25There wasn't
31:26enough of it.
31:26But I saw
31:27a couple
31:28of sequences
31:28that were
31:29quite amazing
31:30and really
31:32reminded me
31:32of Nick's
31:33kind of
31:36talent which
31:37he was showing
31:37in the days
31:38when he was
31:38making
31:39Rebel Without
31:39A Cause
31:40and those
31:40extremely
31:41passionate
31:43and vital
31:44pictures
31:45about the
31:45young.
31:47How did
31:47you get
31:48the part
31:48in Rebel?
31:48Well,
31:49Nick made
31:50a lot of
31:51tests
31:51of different
31:54girls.
31:54I think
31:54there were
31:55about 50
31:55of us
31:55and it
31:56sort of
31:56narrowed
31:57down.
31:57There were
31:5750 to
31:58begin with
31:58and the
31:59second day
31:59it was
31:59down to
32:0010 and
32:00the third
32:00day I
32:01think
32:01it was
32:01down
32:01to
32:015 or
32:046.
32:04But the
32:04big problem
32:05was
32:05that I
32:07had really
32:07up to that
32:08point only
32:08played
32:08children.
32:09And although
32:09I was
32:1015 the
32:11last thing
32:11I did
32:12was in
32:12pigtails
32:13or something
32:13and so
32:13I was
32:14finding it
32:14difficult
32:14to convince
32:15and Nick
32:16was also
32:16finding it
32:17difficult
32:17to convince
32:17the studio
32:18that I
32:18was out
32:19of pigtails.
32:20So one
32:20day I
32:21came on
32:22an interview
32:22with a
32:23boyfriend
32:23who had
32:23a cut
32:24on his
32:25face
32:25and Nick
32:25said
32:26where did
32:26he get
32:26that?
32:28And I
32:28said
32:28drag
32:29racing.
32:30And then
32:30shortly
32:31afterward
32:31I was
32:32actually
32:32in a
32:33bad car
32:34accident
32:34with
32:35Dennis
32:35Hopper
32:35in which
32:36Dennis was
32:37driving too
32:37fast and we
32:38were all
32:38thrown from
32:38the car
32:39and brought
32:39to the
32:39hospital.
32:41And I
32:42was sort
32:42of semi
32:43conscious
32:43and the
32:45police were
32:45called and
32:46they were
32:46asking me
32:47my parents
32:48phone number
32:49and I
32:49kept saying
32:49it's Nick
32:51Ray, call
32:51Nick Ray
32:52and the
32:52number is
32:53so forth and
32:54so forth,
32:54the number
32:54of the
32:54Chateau
32:55Marmont
32:55and I
32:55just kept
32:55repeating
32:56that.
32:57And so
32:57that's
32:57who they
32:57did call
32:58and Nick
32:59sent his
32:59doctor down
33:00to the
33:00hospital
33:01and then
33:02he came
33:02down and
33:02I said
33:03Nick they
33:03called me
33:04a god damn
33:04juvenile delinquent
33:05now do I
33:05get the part.
33:07And you
33:07got it.
33:07And I
33:08got it.
33:09No director
33:09that I'd
33:10ever worked
33:10with had
33:11ever improvised
33:13and Nick's
33:15bungalow at
33:16the Chateau
33:17Marmont
33:17where he
33:17lived was
33:19the set
33:22was built
33:22from that
33:23so that
33:23when we
33:23rehearsed
33:24we really
33:24rehearsed
33:25as though
33:25in a set
33:26and we
33:27improvised
33:27most of
33:27the scenes.
33:29Could you
33:29tell us
33:30something about
33:31the relationship
33:32between Nick
33:33Ray
33:33and Jimmy
33:33Dean?
33:34Well
33:36they obviously
33:38had become
33:38very close
33:39because before
33:39the film
33:40started
33:40they sort
33:41of hung
33:41around
33:41together
33:42and as
33:43you mentioned
33:43went to
33:43New York
33:44and so
33:45that Jimmy
33:45trusted Nick
33:46a great deal
33:47and I think
33:47Nick was
33:50very fatherly
33:50towards Jimmy
33:51I mean he was
33:52to Sal
33:53and to myself
33:54as well
33:54but I think
33:57Nick just
33:58absolutely
33:58understood Jimmy
33:59they were just
34:00completely in tune
34:01and personality
34:01I guess
34:02maybe Jimmy
34:03reminded Nick
34:04of himself
34:04a great deal
34:05so that there
34:06was never
34:07any friction
34:07as there was
34:08between Jimmy
34:09and other directors
34:10that he worked
34:11with
34:11and it was
34:12just a wonderful
34:13blend
34:14and Nick
34:16brought out
34:16this feeling
34:17of trust
34:17in Jimmy
34:18but working
34:19with Jimmy
34:19was
34:21like a real
34:26real joy
34:28but I had
34:31had the
34:32advantage
34:32of his
34:33having worked
34:33with Kazan
34:34and
34:37where he
34:40at least
34:40had a
34:41method
34:43of beginning
34:44I developed
34:46the method
34:47a little bit
34:47more
34:48because Kazan
34:50and I
34:50had matriculated
34:51about the same
34:52time
34:52in the theater
34:54and he had
34:55taught me
34:57a lot
34:57I think
34:58I'm
34:58I think
35:00the nicest
35:01thing Gad
35:01ever said
35:02to me
35:02was
35:02how did
35:04you get
35:04that
35:04spontaneous
35:05performance
35:06out of
35:06Jimmy
35:07but method
35:09changes
35:09with damn
35:11near every
35:11actor
35:11and I
35:13honored his
35:13imagination
35:14more than
35:15almost anything
35:15else
35:16Dean was
35:17the only one
35:18in the cast
35:19who had
35:19any real
35:19comprehension
35:20of method
35:21or of the
35:22school of theater
35:24in which I had
35:25grown up
35:25and
35:27you couldn't
35:33use the word
35:34improvised
35:35if you used
35:35the word
35:36improvised
35:36with people
35:37like Anduran
35:38or
35:40Jim Bacchus
35:42or Virginia
35:44Brissack
35:44they'd say
35:47oh this
35:48oh this
35:49artsy school
35:49hmm
35:50and
35:52and
35:53so you
35:56I'd use
35:57old
35:57volvillian
35:58terms
35:58the director
35:59has to be
35:59able to
35:59work with
36:00everybody
36:01from every
36:02every school
36:04you know
36:05no cast
36:06is ever
36:06made up
36:07really the same
36:09people
36:09the same
36:09background
36:10so you
36:13have to
36:13use all
36:15the techniques
36:16you've ever
36:16learned
36:17whether
36:17what you
36:19learned
36:19from a
36:19votevillian
36:20or from
36:20an old
36:21leading man
36:21like Fuller
36:22Mellish
36:23who came
36:23over with
36:23Henry Irving
36:24and Minnie
36:25Madden
36:25Fisk
36:25or
36:26burlesque
36:29people
36:29like Red
36:30Buttons
36:30or
36:31Phil
36:34Silvers
36:34or
36:39or
36:40from
36:40miners
36:40or
36:41shrimp
36:41fishermen
36:41or
36:42or
36:48your own
36:49peers
36:49as you
36:50grow up
36:51at the
36:51theater
36:51it's
36:53a
36:54Cary Grant
36:55for instance
36:55is a
36:56as a
36:58fellow
36:58like
36:59Duke
37:00Ellington
37:01has
37:01in
37:01his
37:02trunk
37:03so
37:05many
37:05tunes
37:06well
37:07Cary Grant
37:08has
37:08so many
37:09notes
37:10of
37:10sunsets
37:11so many
37:12jokes
37:12so many
37:13things that
37:14he's
37:14collected
37:14and remained
37:15collecting
37:15every single
37:16year of
37:17his life
37:17you know
37:18that
37:19that
37:19his
37:20memory
37:21his
37:21effective
37:22memory
37:22is always
37:24implemented
37:24by
37:25an
37:26easy
37:27reference
37:28you know
37:29he has
37:30them in
37:30the trunk
37:31he doesn't
37:31have to
37:31refer to
37:32them because
37:32the compartments
37:33of the
37:33brain
37:34have them
37:34but having
37:35written them
37:35down
37:36having noted
37:36them
37:37having
37:37taken
37:37the
37:38the
37:38visual memory
37:43of
37:44like that
37:45tree
37:45between
37:46those two
37:46little
37:47shacks
37:48there
37:48being
37:50something
37:50which
37:51you
37:51might
37:53remember
37:53in the
37:53scene
37:54say
37:55why don't
37:55we use
37:56that
37:56after
37:59rebel
37:59without a
38:00cause
38:00nicholas
38:01ray
38:01continued
38:01to
38:02produce
38:02some
38:02extraordinary
38:02work
38:03although
38:05he was
38:05one of
38:05hollywood's
38:05most
38:06respected
38:06directors
38:07ray
38:08still
38:08suffered
38:08studio
38:09interference
38:09that
38:09bowdlerized
38:10his conception
38:11on several
38:11films
38:12and he
38:12began
38:13to work
38:13abroad
38:13thereafter
38:15he
38:15drifted
38:15from
38:15one
38:16project
38:16to
38:16another
38:16through
38:17the
38:17byzantine
38:18complications
38:18of
38:18independent
38:19production
38:19and
38:20multinational
38:20financing
38:21compromises
38:23were still
38:23required
38:23but
38:24ray
38:24did
38:25enjoy
38:25a
38:25measure
38:25of
38:25autonomy
38:26beyond
38:26that
38:26generally
38:27accorded
38:27him
38:27in
38:27hollywood
38:28then
38:30in
38:301960
38:31he
38:32was
38:32drawn
38:32into
38:32the
38:32world
38:33of
38:33blockbuster
38:33spectacles
38:34although
38:35he
38:35brought
38:35his
38:36immense
38:36visual
38:36talent
38:37and
38:37some
38:37original
38:38conceptions
38:38to
38:38the
38:39rather
38:39inflated
38:39material
38:40nicholas
38:41ray
38:41seemed
38:42glaringly
38:42out
38:42of
38:43place
38:43overseeing
38:44the
38:44massive
38:44technology
38:45and
38:46impersonal
38:46logistics
38:47of
38:48a
38:48king
38:48of
38:48kings
38:49or
38:4955
38:50days
38:50at
38:51peking
38:51why
38:52did
38:52he
38:52get
38:52discouraged
38:53this
38:55is
38:55the
38:55terrible
38:56evil
38:56I
38:56think
38:57of
38:57the
38:57hollywood
38:57system
38:58I
38:58think
38:58you
38:58end
39:00up
39:00because
39:01you
39:01do
39:01get
39:02screwed
39:02occasionally
39:03by
39:03studios
39:04you
39:04do
39:05get
39:05frustrated
39:05they
39:07do
39:07mess
39:08up
39:08your
39:08work
39:08and
39:08make
39:09it
39:09more
39:09difficult
39:09for
39:09you
39:09to
39:10work
39:10or
39:10they
39:10did
39:10in
39:11those
39:11days
39:11when
39:11the
39:11studios
39:12really
39:12existed
39:12they
39:13don't
39:13really
39:13exist
39:13anymore
39:14in
39:14that
39:14sense
39:15I
39:16think
39:16Nick
39:17was
39:17probably
39:18much
39:18more
39:18vulnerable
39:19than
39:19other
39:19people
39:20everybody
39:20has
39:20this
39:21but
39:21whereas
39:22a
39:22man
39:22like
39:23Kazan
39:23was
39:24able
39:24who's
39:25tough
39:25as
39:25nailed
39:25was
39:26able
39:26to
39:26take
39:26it
39:26in
39:26stride
39:27I
39:27think
39:28Nick
39:28finally
39:29was
39:29partially
39:30destroyed
39:31by
39:31it
39:31and
39:31became
39:32almost
39:33perverse
39:33in
39:34his
39:34resistance
39:36in
39:37his
39:37almost
39:38being
39:39prepared
39:39to
39:39be
39:40screwed
39:40before
39:41anticipating
39:42the
39:43screwing
39:43before
39:44they
39:44actually
39:44occurred
39:45now
39:45that
39:46is
39:46not
39:46rare
39:46that
39:47happens
39:47to
39:47many
39:48directors
39:49and
39:49many
39:49people
39:49who
39:50work
39:50in
39:50the
39:50business
39:51it
39:51affected
39:51Nick
39:51more
39:52than
39:52other
39:53people
39:53most
39:54film
39:55courses
39:56or
39:56film
39:57classes
39:57concentrate
40:02on
40:03getting
40:07rid
40:07of
40:07the
40:07responsibilities
40:08of the
40:08students
40:09as quickly
40:09as
40:09possible
40:10by putting
40:10them
40:11off
40:11in
40:11corners
40:11and
40:11shooting
40:128mm
40:12films
40:13which
40:13they
40:14can
40:14do
40:15all
40:15by
40:15themselves
40:15and
40:18present
40:20for a
40:20senior
40:21thesis
40:21therefore
40:23the emphasis
40:23is on
40:24kind of
40:24static
40:25camera
40:25with a
40:27with cute
40:31ideas
40:32or masturbatory
40:33ideas
40:33or date
40:35making
40:35ideas
40:36or anything
40:38except the
40:39relationship
40:41with other
40:41human beings
40:42and film
40:45is a
40:45collective
40:45art
40:46and
40:46eclectic
40:46art
40:47is a
40:47collective
40:47art
40:48and
40:50it's
40:53by its
40:56own nature
40:57become the
40:57most
40:57communicative
40:59art that
40:59we have
41:00in the
41:00world
41:00and the
41:03only two
41:03great
41:03ambassadors
41:04we've
41:04ever had
41:05from the
41:05United
41:06States
41:06have been
41:06jazz and
41:07film
41:07and
41:10that
41:11doesn't
41:11come from
41:11sitting
41:12off in
41:12a
41:12corner
41:12for all
41:22his
41:22hardships
41:23Nicholas
41:24Ray
41:24remains
41:25both
41:25intransigent
41:26and
41:26optimistic
41:26facing
41:27an
41:27uncertain
41:28future
41:28determined
41:29to make
41:30films
41:30in his
41:30own
41:30way
41:31in a
41:32sense
41:32each
41:33project
41:33he
41:34undertakes
41:34might be
41:34likened
41:35to the
41:35blind
41:35run
41:36in
41:36Rebel
41:36Without
41:36a
41:36Cause
41:37as a
41:38slightly
41:38mad
41:38test
41:39of
41:39courage
41:39that
41:40leads
41:40him
41:40up
41:41to
41:41and
41:41perhaps
41:41over
41:41the
41:42edge
41:42of
41:42disaster
41:42while
41:44Ray
41:44did
41:44find
41:45in
41:45Binghamton
41:45momentarily
41:46a kind
41:46of
41:46community
41:47and
41:47collective
41:47endeavor
41:47for which
41:48he had
41:49long
41:49been
41:49searching
41:49in
41:50the
41:51end
41:51Nick
41:51Ray
41:52knows
41:52that
41:52he
41:52must
41:52drive
41:53his
41:53blind
41:53run
41:53alone
41:54as
41:55he
41:55has
41:55often
41:55remarked
41:56the
41:56working
41:57title
41:57of
41:57every
41:57film
41:58he
41:58has
41:58ever
41:58made
41:58has
41:58been
41:59I'm
42:00a
42:00stranger
42:00here
42:07it
42:17might
42:17be
42:18good
42:18emotionally
42:18for you
42:19to take
42:19the low
42:20camera
42:20she's
42:27putting
42:27the blankets
42:28on
42:28Tom
42:28yeah
42:29go ahead
42:34would you
42:34tip up
42:35to her
42:35what do
42:38you mean
42:38I take
42:38a camera
42:38that's
42:39that's
42:39the low
42:40camera
42:40as the
42:41bikers
42:42come
42:42out
42:42around
42:43usually
42:44there's
42:4475
42:45here
42:45and
42:47you
42:48tip up
42:49it
42:49I think
42:52it's
42:52emotionally
42:53a good
42:54thing
42:54alright
42:55ok
42:55footage
42:58please
42:59um
42:59155
43:01it looks
43:02very
43:03beautiful
43:03to me
43:04since we
43:04wrapped
43:05that's
43:06a wrap
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