Z
MCN Blogs
Ray Pride

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.]

Leave a Reply

Movie City Indie

Z

Quote Unquotesee all »

“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

Z Z