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Ray Pride

By Ray Pride Pride@moviecitynews.com

Yo La Tengo’s “I’ll Be Around” (4’49″), as seen in Bon Appetit

Video by Phil Morrison.
From Bon Appetit:
Why did you decide to put the recipe, and the rest of the text, over the video?
Ira Kaplan: It was the director’s idea, and we liked it. I think the first thought was that we liked the idea of information–there’s lyrics, there’s lyrics that aren’t part of the song, and there’s the recipe onscreen. I think it’s at a point where the text provides information, but it also obfuscates as well. I don’t think anyone knew until they saw it if it was going to work, but conceptually, it had the capacity of touching on a couple of bases that would otherwise be hard to show visually.
Why the eating scene?
IK: I’m not dying to talk about the meaning of the song, but we felt that it was appropriate to the spirit of the song, and I don’t think in particularly obscure ways… [Bass player] James McNew has made the tortilla before, but we hadn’t made the tortilla soup. So the tortilla was the first part of the menu, then we needed a complete meal.
And were you actually cooking it on-screen?
IK: Oh yeah. We’re not actors.

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CATHERINE LACEY: Do you think that your writer DNA was sort of shaped by how your family was displaced by the Nazi regime before you were born?
RENATA ADLER: It’s funny that you should mention that because I think it affects a lot else, specifically being a refugee. I wasn’t born there. I didn’t experience any of it. But they were refugees. So then I was thinking of this business of being a refugee, no matter in what sense.

Prenatal refugee.
Prenatal refugee and actually postnatal refugee. And I thought there are probably things in common between being a child and being a refugee and being an anthropologist.

It gives you a sense of curiosity.
But also a complete displacement. You’ve got to read the situation. You’re the new kid in school all the time. But I wasn’t aware of it then. I’m aware of it now because language affects you differently, or not. But I used to talk to Mike Nichols about it because he was a refugee. Do you envision an audience when you write? Do you envision a particular person? 

No.
Every once in a while I think: Now, what would Mike say to that?

There’s that idea that when you’re blocked, you can always just write as if it was a letter to one specific person.
Oh, that’s good. That’s a wonderful idea. Mine is more in terms of criticism. If someone was to say, “I know what that is. Do you really want to do that?” But anyway, about Mike and his attitude toward language, I remember him saying—it was a question of whether something written was fresh or not—and he would ask, “Why not smell it?” Which, from an English speaker’s point of view, is hysterical.

~ Renata Adler and Catherine Lacey In Conversation 

“Oh it was just hellish. This is the worst thing that ever happened to me. It would be stupid for me to say that I didn’t know what I was getting into. It has taken me five years to decide on a first film and I always held out for something like this. The lesson to be learned is that you can’t take on an enterprise of this size and scope if you don’t have a movie like The Terminator or Jaws behind you. Because when everybody’s wringing their handkerchiefs and sweating and puking blood over the money, it’s very nice to be able to say, ‘This is the guy who directed the biggest grossing movie of all time, sit down, shut up and feel lucky that you’ve got him.’ It’s another thing when you are there and you’re going ‘Trust me, this is really what I believe in,’ and they turn round and say ‘Well, who the hell is this guy?’ If I make ten shitty movies, I’ll deserve the flak and if I go on to make 10 great ones, this’ll probably be looked upon as my first bungled masterpiece.”
~ David Fincher, 1992

 

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