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By Ray Pride Pride@moviecitynews.com

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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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé