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Ray Pride

By Ray Pride Pride@moviecitynews.com

Mike Wallace Interviews… Rod Serling, Frost/Nixon, Ayn Rand, Frank Lloyd Wright, Jean Seberg, Dali…

And also Frank Lloyd Wright, Salvador Dali, Jean Seberg, Aldous Huxley and Ben Hecht (transcript only). (And many more from the Harry Ransom Collection at University of Texas Austin.)

With Mr. Hecht:

WALLACE: When you say – you talk about almost as good as keeping you young body – do you mind very much growing old Ben?

HECHT: It’s horrid – sorry to say everybody grows old and you’ll answer that question yourself some day. But we already experienced….

WALLACE: We’ve interviewed other older people… Older than you … Eleanor Roosevelt, Frank Lloyd Wright…. They don’t seem to mind the passage of the years because all of their adult lives, they have been engaged in meaningful work – work which they still do. It … could it be that you engaged in mostly carefree, adolescent work … like writing for Hollywood still … and therefore old age comes as something of a menace to you?

HECHT: No … I haven’t engaged in meaningless work… I’ve written about eight books in the last eight years which I personally like very much … and people who say they don’t mind growing old are just telling sad little lies to you… everybody minds growing old … and when I look back, I don’t only see my youth, as better, my bankbook was better, everything about me was better, and work was easier … you ask any prizefighter whether he minds growing old, … everybody loses the punch sort of, and the people who thin they’re doing important work … Mrs. Roosevelt has been repeating herself like some parrot with three clichés – for the past fifteen years. I don’t’ regard anything she’s been doing as important. I don’t know who else you mentioned, but …..

WALLACE: Frank Lloyd Wright.

HECHT: Frank Lloyd Wright.

WALLACE: No parrot he.

HECHT: No, Frank Lloyd Wright stopped working about twenty years ago. I don’t think he’s drawn a picture in twenty years. He’s been exercising charm and civilization.

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“The evening’s curious vanity and irrelevance stay with me, if only because those qualities characterize so many of Hollywood’s best intentions. Social problems present themselves to many of these people in terms of a scenario, in which, once certain key scenes are licked (the confrontation on the courthouse steps, the revelation that the opposition leader has an anti-Semitic past, the presentation of the bill of participants to the President, a Henry Fonda cameo), the plot will proceed inexorably to an upbeat fade. Marlon Brando does not, in a well-plotted motion picture, picket San Quentin in vain: what we are talking about here is faith in a dramatic convention. Things “happen” in motion pictures. There is always a resolution, always a strong cause-effect dramatic line, and to perceive the world in those terms is to assume an ending for every social scenario… If the poor people march on Washington and camp out, there to receive bundles of clothes gathered on the Fox lot by Barbra Streisand, then some good must come of it (the script here has a great many dramatic staples, not the least of them in a sentimental notion of Washington as an open forum, cf. Mr. Deeds Goes to Washington), and doubts have no place in the story.”
~ Joan Didion On Hw’d In 1970

CAMPION: We were driving around the countryside the other day, and we happened to chance upon a lone bull and cow going through some sex rituals. I was so surprised to see how lengthy the whole process was for this bull. He started licking the cow’s shin and worked his way quite laboriously up toward her ass. And every now and again, you thought, “Maybe she’s ready now—he’ll try a quick move.”
TAYLOR-JOHNSON: She wasn’t ready.
CAMPION: She made it clear that that wasn’t the case. We couldn’t even wait; it was like 15 minutes, but it was really adorable. Even when we came back, they were still at it. The foreplay was phenomenal.
TAYLOR-JOHNSON: You don’t think of animal love in that way.
~ Jane Campion And Sam Taylor-Johnson in Interview

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