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Ray Pride

By Ray Pride

Taylor made: Charles Taylor post-Salon

At The House Next Door, Jeremiah Kipp talks with critic Charles Taylor about what reviewers do (and ought to do) today: “I’ve heard people say that if a critic has a professed dislike for someone’s work, someone else should review it so the artist gets a fair hearing. Well, we already have that. It’s called publicity. It’s not a critic’s job to go in concerned with being positive. But news people are trained in that journalist’s way of thinking, “You get the facts. You report them. You provide evidence to support the position.” Critics take imaginative leaps, they employ] hyperbole and that makes the reportorial mindset very nervous, and they don’t get it. It all comes back to that line Truffaut said about how no one at a newspaper has less respect than the movie critic. No one is going to tell the dance critic or classical music critic how to do their jobs… salon_94858.pngNo one is going to say to a reporter who has been on the scene he or she is writing about, “Oh, you don’t know what’s happening there.” … Like a reporter, the critic is the one going out day after day, seeing movies, thinking about how they fit into the culture. Editors, for the most part, sit behind their desk saying they heard buzz on this or that.

But all that usually means is they heard publicity from somewhere, often from publicists who are calling to pitch them on getting coverage for their movies, or from other editors who’ve been pitched by publicists, or in magazine pieces which resulted because some editor was successfully pitched to by a publicist. They’re not relying on the people who are actually out doing the footwork. That’s a real problem. The critic should reflect the culture as honestly as he or she can. If you’re a regular critic and you’ve got that weekly outlet, you’re essentially writing a diary of the culture, and not in the stupid think pieces sort of way. You’re reflecting the tone of what’s going on week in and week out. A portrait of the culture you’re dealing with can’t help but emerge from that. If you’re honest about what your response is, you’re serving your reader whether they agree with you or not.” [More at the link, including why he’s no longer at Salon.]

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“People used to love to call me a maverick, because I had a big mouth, and I’d say, ‘That bum!’ or something like that when I was young. Mainly, because I believed it, and I didn’t know there was anybody’s pain connected to the business. I was so young, I didn’t feel any pain. I just thought, ‘Why don’t they do some exciting, venturesome things? Why are they just sitting there, doing these dull pictures that have already been done many, many times, and calling them exciting? That’s a lie — they’re not exciting. Exciting is an experiment… That reputation keeps with you, through the years. Once the press calls you a maverick, it stays in their files. I’ll be dead five years, and they’ll still be saying, ‘That maverick son-of-a-bitch, he’s off in Colorado, making a movie.’ As if they really cared. You know, in this business, it’s all jealousy. I mean, this is the dumbest business I’ve ever seen in my life. If somebody gets married, they say, ‘It’ll never work.’ If somebody gets divorced, they say, ‘Good. I’ll give you my lawyer.’ If somebody loses a job, everyone will call him — to gloat. They’ll discuss it, they’ll be happy, they’ll have parties. I don’t understand how people that can see each other all the time, and be friends, can be so happy about each other’s demise.”
~ John Cassavetes


“There’s a culture of friendship in Latin American cinema, between people like Alfonso Cuarón, Alejandro González Iñárritu and Guillermo del Toro, which they in turn inherited from others. They’re a sensation of brotherhood, that people care abut you, look after you, which we’ve sought to maintain consciously. That ‘brotherhood’ is the best way to survive, to make better films, but it also a way of coming close to the biggest reason to make films. Filmmaking for me is like a fraternal act, like being with your family, and feeling that what we’re doing, when the film is over and makes some impact, is worth it. That intense encounter with all those people flowers, emanates for ever. You’re a kind of cousin, brother, lover, father, son of all those people with whom you worked. It’s a beautiful sensation.”
Gael García Bernal


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