By Ray Pride Pride@moviecitynews.com

Julian Tepper and Philip Roth

“With every table in the dining room occupied and me, the only waiter, neglecting the needs of a good fifty patrons, I approached Roth. Holding out Balls as a numbness set into the muscles of my face, I spoke. “Sir, I’ve heard you say that you don’t read fiction anymore, but I’ve just had my first novel published and I’d like to give you a copy.”

“His eyes lifting from his iPhone, he took the book from my hands. He congratulated me. Then, staring at the cover, he said, “Great title. I’m surprised I didn’t think of it myself.”

“These words worked on me like a hit of morphine. Like two hits. It felt as if I was no longer the occupant of my own body. The legs had gone weak, the ears warmed, the eyes watered, the heart rate increased rapidly. Barely able to keep myself upright, I told him, “Thank you.”

“Then Roth, who, the world would learn sixteen days later, was retiring from writing, said, in an even tone, with seeming sincerity, “Yeah, this is great. But I would quit while you’re ahead. Really, it’s an awful field. Just torture. Awful. You write and write, and you have to throw almost all of it away because it’s not any good. I would say just stop now. You don’t want to do this to yourself. That’s my advice to you.”

“I managed, “It’s too late, sir. There’s no turning back. I’m in.”

“Nodding slowly, he said to me, “Well then, good luck.”

“After which I went back to work.”
~ Julian Tepper

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott