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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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 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour

Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook