Journalists From California

"The politics of rock 'n' roll, in England or America or anywhere else, is that a whole lot of kids want to be fried out of their skins by the most scalding propulsion they can find, for a night they can pretend is the rest of their lives, and whether the next day they go back to work in shops or boredom on the dole or American TV doldrums in Mom 'n' Daddy's living room nothing can cancel the reality of that night in the revivifying flames when for once if only then in your life you were blasted out of yourself and the monotony which defines most life anywhere at any time, when you supped on lightning and nothing else in the realms of the living or dead mattered at all."

"I'm not saying that all college students are subhuman — I'm just saying that if you aim to spend a few years mastering the art of pomposity, these are places where you can be taught by undisputed experts."

"The point is that, like Richard Hell says, rock 'n' roll is an arena in which you recreate yourself, and all this blathering about authenticity is just a bunch of crap. The Clash are authentic because their music carries such brutal conviction, not because they're Noble Savages."

"You see, dear reader, so much of what's doled out as punk merely amounts to saying I suck, you suck, the world sucks, and who gives a damn — which is, er, ah, somehow insufficient.Don't ask me why; I'm just an observer, really. But any observer could tell that, to put in in terms of Us vs. Them, saying the above is exactly what They would want you to do, because it amounts to capitulation."

"Realizing that life is precious the natural tendency is to trample on it, like laughing at a funeral."

"A hero is a goddam stupid thing to have in the first place and a general block to anything you might wanta accomplish on your own."

"What all this posturing and fake glamor results in is a vast detachment and cynicism on the part of the artists. Since it's impossible to have respect for an audience that'll take just about anything you care to dish out, and the impassive demeanor is so central to the role, a general numbnose is all that can be expected."

"The extravagant and ostentatious lifestyles that pass for charisma in a time when almost anybody talks about charisma but if you think about it there's precious little to be seen."

"The trend toward narcissistic flair has been responsible in large part for smiting rock with the superstar virus, which revolves around the substituting of attitudes and flamboyant trappings, into which the audience can project their fantasies, for the simple desire to make music, get loose, knock the folks out or get 'em up dancin.' It's not enough just to do those things anymore; what you must do instead if you want success on any large scale is figure a way of getting yourself associated in the audience's mind with their pieties and their sense of "community," i.e., ram it home that you're one of THEM; or, alternately, deck and bake yourself into an image configuration so blatant or outrageous that you become a culture myth."

"By the end of the decade it had become obvious that perhaps the one constant of our variegated and strung-out peer groups was a pervasive sense of self-consciousness that sent us in grouchy packs to ugly festivals just to be together and dig ourselves and each other, as if all of this meant something greater than that we were kids who liked rock 'n' roll and came out to have a good time, as if our very styles and trappings and drugs and jargon could be in themselves political statements for any longer than about fifteen stoned seconds, even a threat to the Mother Country! So we loved and loved and doted on ourselves and our reflections in each other even as the whole thing got out of hand and turned into mud and disaster areas and downs and death."

"The top rockers have a mythic aura about them, the "superstar," and that's a basically unhealthy state of things, in fact it's the very virus that's fucking up rock, a subspecies of the virus I spoke of earlier that infests our culture from popstars to politics."

"Things started to go downhill. Instead of singing about taking tea with Mary Jane and boppin' your dingus on ol' Sweet Slit Annie it was Help me God I don't know the meaning of life or I believe that love is gonna cure the world of psoriasis and cancer both and I'm gonna tell the people all about it 285 different ways whether you like it or not. And Why is there war well go ask the children they know everything we need to know, and Gee I sure like black folks even if my own folks don't and endless vinyl floods of drivel in similar veins. At that point I started to pack in and resort back to my good old ' 66 goof squat rock. I got out records like 96 Tears by Question Mark and the Mysterians, who were mysterious indeed, and re-whooped to jungle juju cackles like "Wooly Bully," which is indescribable and was recorded by a bunch of guys who drove around in a hearse wearing turbans."

"I was in high school (oh, I told you — that was kind of where they put you when they didn't know what to do with you — when you were too big for the Kiddie Kokoons and too young to go out an' hafta assume what we used to call Manhood, which involved going at the same time every day to some weird building and doing some totally useless shit for hours on end just so you could get some bread and have everybody respect you)."

"Moviegoers like to believe that those they have made stars are great actors. People used to say that Gary Cooper was a fine actor — probably because when they looked in his face they were ready to give him their power of attorney."

"I am mystified. I know only one person who voted for Nixon."

"I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him."

"For some strange reason we don't go to charming, light movies anymore. People expect a movie to be heavy and turgid, like "American Beauty." We've become a heavy-handed society."

"I still don't look at movies twice. It's funny, I just feel I got it the first time. With music it's different. People respond so differently to the whole issue of seeing a movie many times. I'm astonished when I talk to really good critics, who know their stuff and will see a film eight or ten or twelve times. I don't see how they can do it without hating the movie. I would."

"It's sometimes discouraging to see all of a director's movies, because there's so much repetition. The auteurists took this to be a sign of a director's artistry, that you could recognize his movies. But it can also be a sign that he's a hack."

"Moviemaking is so male-dominated now that they think they’re being pro-feminine when they have women punching each other out."

"Earlier generations went to see what was forbidden in life and developed a real excitement about the movies. Today’s rating system keeps kids out of the good ones. I wouldn’t want them to see movies like Natural Born Killers, but my tendency is you’re better off seeing things than not. That glazed indifference kids develop can be worse than over-excitement."

"Goodman: Imitation is the sincerest form of flattery. Kael: I hate it. It is very creepy being imitated."

"If you can't make fun of bad movies on serious subjects, what's the point?"

"This is a nature-boy movie, a kid's daydream of being an Indian. When Dunbar has become a Sioux named Dances with Wolves, he writes in his journal that he knows for the first time who he really is. Costner has feathers in his hair and feathers in his head."

"The critical task is necessarily comparative, and younger people do not truly know what is new."

"The recurrence of certain themes in movies suggests that each generation wants romance restated in slightly new terms, and of course it’s one of the pleasures of movies as a popular art that they can answer this need. And yet, and yet — one doesn’t expect an educated generation to be so soft on itself, much softer than the factory workers of the past who didn’t go back over and over to the same movies, mooning away in fixation on themselves and thinking this fixation meant movies had suddenly become an art, and their art."

"The small triumph of The Graduate was to have domesticated alienation and the difficulty of communication, by making what Benjamin is alienated from a middle-class comic strip and making it absurdly evident that he has nothing to communicate — which is just what makes him an acceptable hero for the large movie audience. If he said anything or had any ideas, the audience would probably hate him."

"When you clean them up, when you make movies respectable, you kill them. The wellspring of their art, their greatness, is in not being respectable."

"Movies are so rarely great art, that if we cannot appreciate great trash, we have very little reason to be interested in them."

"Kicked in the ribs, the press says "art" when "ouch" would be more appropriate."

"Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize."

"And for the greatest movie artists where there is a unity of technique and subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made — which is more or less implicit."

"Men are now beginning their careers as directors by working on commercials — which, if one cares to speculate on it, may be almost a one-sentence résumé of the future of American motion pictures."

"The craftsmanship that Hollywood has always used as a selling point not only doesn’t have much to do with art — the expressive use of techniques — it probably doesn’t have very much to do with actual box-office appeal, either."

"People who are just getting "seriously interested" in film always ask a critic, "Why don’t you talk about technique and 'the visuals' more?" The answer is that American movie technique is generally more like technology and it usually isn’t very interesting."

"Movies make hash of the schoolmarm’s approach of how well the artist fulfilled his intentions. Whatever the original intention of the writers and director, it is usually supplanted, as the production gets under way, by the intention to make money — and the industry judges the film by how well it fulfills that intention. But if you could see the "artist’s intentions" you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director, as distinguished from an artist."

"Audiences who have been forced to wade through the thick middle-class padding of more expensively made movies to get to the action enjoy the nose-thumbing at "good taste" of cheap movies that stick to the raw materials. At some basic level they like the pictures to be cheaply done, they enjoy the crudeness; it’s a breather, a vacation from proper behavior and good taste and required responses. Patrons of burlesque applaud politely for the graceful erotic dancer but go wild for the lewd lummox who bangs her big hips around. That’s what they go to burlesque for."

"Alienation is the most common state of the knowledgeable movie audience, and though it has the peculiar rewards of low connoisseurship, a miser’s delight in small favors, we long to be surprised out of it — not to suspension of disbelief nor to a Brechtian kind of alienation, but to pleasure, something a man can call good without self-disgust."

"The past has a terror and fascination and a beauty beyond almost anything else. We are looking at the dead, and they move and grin and wave at us; it's an almost unbearable experience. When our wonder or our grief are interrupted or followed by a commercial, we want to destroy the ugly box. Old movies don't tear us apart like that. They do something else, which we can take more of and take more easily; they give us a sense of the passage of life. Here is Elizabeth Taylor as a plump matron and here, an hour later, as an exquisite child."

"Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful — our own innocence."

"The words "Kiss Kiss Bang Bang," which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this."

"After one of those terrible lovers' quarrels that leave one in a state of incomprehensible despair. I came out of the theater, tears streaming, and overheard the petulant voice of a college girl complaining to her boyfriend, "Well I don't see what was so special about that movie." I walked up the street, crying blindly, no longer certain whether my tears were for the tragedy on the screen, the hopelessness I felt for myself, or the alienation I felt from those who could not experience the radiance of Shoeshine. For if people cannot feel Shoeshine, what can they feel?... Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. Yet our tears for each other, and for Shoeshine did not bring us together. Life, as Shoeshine demonstrates, is too complex for facile endings."

"I loved writing about things when I was excited about them. It's not fun writing about bad movies. I used to think it was bad for my skin. It's painful writing about the bad things in an art form, particularly when young kids are going to be enthusiastic about those things, because they haven't seen anything better, or anything different."

"Before seeing Truffaut's Small Change, I was afraid it was going to be one of those simple, natural films about childhood which I generally try to avoid — I'm just not good enough to go to them. But this series of sketches on the general theme of the resilience of children turns out to be that rarity — a poetic comedy that's really funny."

"A woman who taught at Berkeley dropped in on me once and saw a book burning in the fireplace. She pointed at it in terror, and I explained that it was a crummy ghostwritten life of a movie star and that it was an act of sanitation to burn it rather than sending it out into the world which was already clogged with too many copies of it. But she said, "You shouldn’t burn books" and began to cry."

"In the arts, the critic is the only independent source of information. The rest is advertising."

"I live in a rather special world. I only know one person who voted for Nixon. Where they are I don't know. They're outside my ken. But sometimes when I'm in a theater I can feel them."

"October 14, 1972: that date should become a landmark in movie history comparable to May 29, 1913 — the night Le Sacre du Printemps was first performed — in music history. There was no riot, and no one threw anything at the screen, but I think it’s fair to say that the audience was in a state of shock, because Last Tango in Paris has the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same thrusting, jabbing eroticism. [...] Bertolucci and Brando have altered the face of an art form. Who was prepared for that?"

"Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. It may seem even fresher."

"A mistake in judgment isn't fatal, but too much anxiety about judgment is."