By mcneditor editor@moviecitynews.com

Eulogy For Bingham Ray, By Ben Barenholtz, Eamonn Bowles, Tom Prassis, Arnie Sawyer

(As read by John Cooper at the Sundance 2012 award ceremony.)

We are here to mourn, and honor, an icon of the film industry.  And as we begin we can hear his voice whispering in our ears, “Don’t fuck it up, Kitty Kats!”  Followed by a huge roar of sarcastic laughter.

This was Bingham Ray to a tee.

It sounds strange to talk about Bingham in the past tense. Even stranger to admit to ourselves that our dear friend is no longer with us.

We who knew him through the good and the bad years mourn the loss of a true friend, a bad poker player, a fierce competitor and a raconteur of the highest order.

Starting out as a projectionist at the Bleecker Street Cinema in New York City, he rose to become one of the handful of giants in our cozy corner of the film world, intimately involved with some of the figures whose images he used to project. He was loved by actors and directors in a way that few people on this side of the fence are. But as with everything else, he had no problem challenging them when he thought they were wrong. And they usually loved and respected him more for it.

He was incapable of not speaking his mind, almost to a tourette’s level. As you’d imagine, this led to many legendary beefs with many people. This is also reflected in the astounding number of companies at which he worked over his career, a career that almost perfectly paralleled the rise of independent film in America. But anyone who truly loved film could not really dislike Bingham. His knowledge was encyclopedic, fueled purely by enthusiasm, not some nerdy desire to impress and he could talk about directors or quote dialogue for hours.

If you were fortunate to be his friend or within spitting distance he could suck up the oxygen around you and beguile you with his tales in the trenches.  When Bingham was in the room, it was like somebody had turned up the volume on the stereo. Tales of triumphs and tales of struggles, with incredible, sometimes excruciating, detail, bringing you into HIS world.  All the highs and lows he experienced.  Even as Bingham was telling the lamest story or singing one of the many silly ditties he would make up, stuff we’d heard so many times before, we’d break up seeing him rippling in laughter, tears in his eyes, paralyzed by his own punch line.

His mischievous smile will be forever seared in our memory and someday when we are together again after all the cards are dealt, Bingham will reveal to us the punch line of this joke he started telling so many years ago.

Our deepest thoughts go out to his incredible wife, Nancy, truly his rock through all the highs and lows, and their three wonderful children, Becca, Annabel and Nick.

The world lost some of its luster this week when Bingham passed away.

His laughter still echoes and we are laughing with him.  A stupid thing like death cannot take that away from us.

One Response to “Eulogy For Bingham Ray, By Ben Barenholtz, Eamonn Bowles, Tom Prassis, Arnie Sawyer”

  1. Richard Maynard says:

    I met Bingham in college in the Fall of 1974. This is the same Bingham I knew back then. And the same Bingham I saw last in the summer of 2010. I think about him every day.

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“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!”  Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why.  I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World

“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

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