I conducted two interviews with Michael Snow in the early 1980s. The first of these, commissioned by Film Comment‘s Richard Corliss (who sent me to Toronto in order to do it), was about Snow’s film Presents and ran in the magazine’s May-June 1981 issue. The second was commissioned by Simon Field’s excellent English magazine Afterimage. Both of these interviews were delightful experiences for me, and I feel privileged to have been treated by Snow during this period as a friend. (For a short while, I used to visit him once a year, whenever I came to the Toronto International Film Festival, and loved getting stoned with him — and then, most often, going to Chinatown for dinner.) —J.R.
The “Presents” of Michael Snow
A Breathless Intro
Lower Manhattan, 1981, the opening of a Canadian gallery, the onset of spring. Michael Snow’s photography/sculpture show at The 49th Parallel commences with Plus Tard (1977) – twenty-five lovely photographs, blurred and/or in focus, composing a critical/narrative tour of landscape paintings by the Group of Seven in Canada’s National Gallery. I speak to Snow for the first time since last June, when we met at a publication party for Regina Cornwell’s Snow Seen: The Films and Photographs of Michael Snow (PMA Books, $19.95); the second time since accidentally encountering him in Toronto in fall ‘78, when he invited me to attend one of his regular sessions with his free jazz group, CCMC; the third and fourth times since the Edinburgh Festival in late summer ’75 and ’76, when he premiered his last two films.… Read more »
The following review of my first book, Moving Places: A Life at the Movies (1980), signed by one Nancy Rothstein and entitled “Placing Movies”, appeared in the May-June 1981 issue of Film Comment. In point of fact, this was written by me, with the full knowledge and complicity of editor Richard Corliss, following precedents in the same magazine that had by then already been set by Robin Wood (criticizing his own book on Alfred Hitchcock under the name George O. Kaplan in an article entitled “Lost in the Wood”) and, unless my memory is now deceiving me, by Raymond Durgnat (although I no longer remember any of the specific details in Ray’s case). To be fair, Robin took on his own disguise in order to express some of his own serious misgivings about Hitchcock’s Frenzy. My own motives were somewhat more mercenary, or at least self-promotional; at this point, Moving Places had received very few reviews anywhere, and the publisher, Harper & Row, not only wouldn’t advertise the book but also wouldn’t allow me to do so at my own expense.
I figured that the specific challenge of creating a fictional reviewer (“Nancy Rothstein is working on a book about the Hollywood careers of Eisenstein, Brecht, and Renoir,” read the note in Contributors) made the exercise more interesting than it would have been otherwise.… Read more »
From The Movie, Chapter 65, 1981.-– J.R.
One of the most paradoxical and controversial of all the American independents, John Cassavetes has always placed actors and acting at the center of his film-making conceptions. An actor himself, he has used his craft as a means of financing his own productions — which are themselves celebrations of acting. ‘Directing really is a full-time hobby with me,’ he confessed in an interview in the late Sixties. ‘I consider myself an amateur film-maker and a professional actor.’
Born on December 9th, 1929 in New York City, the son of a Greek immigrant who made and then lost a fortune in business, Cassavetes attended Colgate College as an English major. It was there that his interest in acting was sparked, and he enrolled in the American Academy of Dramatic Arts shortly after graduation.
Delinquent turns director
Following a stage debut in a stock company and a bit part in a Hollywood feature, Fourteen Hours (1951), Cassavetes gradually acquired his reputation as a young actor by appearing in television dramas, where he specialized in juvenile delinquent parts. By the mid-Fifties, budget, he was re-creating one of these roles in a film about a family being held captive by hoodlums, The Night Holds Terror (1955).… Read more »
From the May 1981 American Film. This is the third and last of my Resnais interview pieces from this period to be posted on this site . — J.R.
“You know, for all European kids of my age, America was a kind of fairyland,” recalled fifty-eight-year-old Alain Resnais on a recent trip to the United States. “We were born with the idea that there was another kind of country where everything was easy and perfect, like cartoon films, and there was a lot of money and freedom. I remember that when I was ten and I was looking at the French flag, I didn’t feel a thing. But when I was looking at the American flag, my heart was really beating.”
The French director also remembered that in his youth every French child had a distant relative who had gone off to America and was never heard from again. (In his own case, this was a great-grandfather who had disappeared into the wilds of Virginia.) The typical fantasy would be that the missing relative had made a fortune and would one day return to solve every problem. It’s the concept alluded to by the title of — and briefly mentioned by all three leading characters in — Mon Oncle d’Amérique, Resnais’ eighth and most recent feature, and his first major commercial success.… Read more »