By Other Voices voices@moviecitynews.com

Larry Gross on the Passing of L. M. Kit Carson

Kit Carson’s passing really got me.

I knew him on and off for thirty years.

Definitely one of those rare guys in the film universe who danced to his own kind of music.

Never figured out Hollywood to Hollywood’s detriment. A terrific writer. I wished my stuff was as good as his.

David Holzman’s Diary, Paris, Texas, American Dreamer, Bottle Rocket, Breathless, all of which he contributed to substantially albeit in varying degrees, constitute an authentic track record. He also wrote an article on Hollywood’s New Wave for Esquire that was one of the few journalistic pieces to become part of the history it was covering.

Kit wasn’t easy. Lived deeper inside his own head than even the rest of us who live inside our own heads. He could disappear on you, and you didn’t know why. Was fairly quick to take offense. There was a disappointed kid there somewhere. That being said, he was consistently funny, smart, had fantastic artistic taste and judgment. Whatever time you had with him left you wishing you could find a way to have more. And now there won’t be any more. Sad.

One Response to “Larry Gross on the Passing of L. M. Kit Carson”

  1. Greg says:

    I loved him in RUNNING ON EMPTY. His scenes with Christine Lahti were something else. Magnificent acting chops as well……

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch