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00:00The End
00:30Hold on, T-Double.
01:00Hold on, T-Double.
01:30So long, T-Double.
01:32See ya.
01:34Take it easy.
01:36But take it.
01:38What's next?
01:40Now we can start strutting.
01:42One thing you gotta learn, kid.
01:44You gotta look and act like other people.
01:46You gotta look and act like other people.
01:48What's next?
01:50Now we can start strutting.
01:52One thing you gotta learn, kid.
01:54You gotta look and act like other people.
01:58Hell, when I first got to France
02:04and read
02:06the critiques of René,
02:08Godard, Truffaut,
02:10Romer,
02:12I didn't know who the hell they were talking about.
02:16But that's the way films should be.
02:18An artist should not moralize
02:20a person
02:22who has the audacity
02:24to make a film
02:26in the first place.
02:28He shouldn't ever consciously
02:30put his own neuroses on screen.
02:32Well, most of your heroes
02:34are pretty neurotic.
02:38My heroes are no more neurotic
02:40than the audience.
02:42Unless you can feel
02:44that a hero
02:46is just as fucked up as you are
02:48and that you would make the same mistakes
02:50you can have no satisfaction
02:54when he does commit
02:56a heroic act.
02:58Because then you can say,
03:00hell, I could have done that too.
03:02And that's the obligation of the filmmaker,
03:06of the theater worker
03:08to give a heightened sense of experience
03:10to the people
03:12who pay
03:14to come to see his work.
03:16from 1947 to 1962,
03:26Nicholas Ray directed some of the most richly
03:28personal work in American cinema.
03:30Yet in 1971,
03:32when he accepted a teaching post
03:34at Harper College in Binghamton, New York,
03:36he had not completed a film in nearly a decade.
03:38At Binghamton, Ray trained his students
03:40to be a working production unit,
03:42teaching them filmmaking
03:44by shooting a feature film
03:46as a collaborative creative effort
03:48under his supervision.
03:50Grow, not grow,
03:52the word didn't grow, but become us.
03:54You've just described it.
03:56All right, all right.
03:58All right, places, please.
04:00Places.
04:02Born age, take one.
04:04Action.
04:06Born in 1911,
04:08Nicholas Ray left his hometown
04:10of La Crosse, Wisconsin at 16
04:12to study under Frank Lloyd Wright.
04:14After a brief university career,
04:16Ray emigrated to New York City
04:18at the height of the Depression.
04:20There he became involved
04:22in the lively experimental theater
04:24of the 30s, working as an actor
04:26with such politically progressive groups
04:28as the Workers' Theater
04:30and the Federal Theater Project,
04:32which included the living newspaper.
04:34It was there that Ray learned
04:36the improvisational methods
04:38that he would employ in Hollywood
04:40and would still be using
04:42with his students in Binghamton
04:44more than 30 years later.
04:46It began on East 12th Street,
04:48not a few blocks from here.
04:50Led to my association
04:52with Kazan and Houseman,
04:54from whom I learned
04:56from whom I learned more
04:58than any other two people
05:00in the world.
05:02Of...
05:10I worked in a workers' theater.
05:14We graduated to Broadway.
05:16And somehow or other,
05:18one day Kazan said,
05:20come on, you've been spending enough time
05:22in radio, theater, television.
05:26I'm going out to Hollywood
05:27to make my first film.
05:30Come on along and help me.
05:36Houseman, same thing.
05:38I suppose I've collaborated
05:40with Houseman on more things
05:42than anybody else I've ever worked with.
05:44Nick had come to New York
05:47during the depths of the Depression
05:49when life was very strange,
05:52sort of rather desperate,
05:54and at the same time
05:56extremely hopeful
05:59and there was almost no limit
06:02to the dreams one could have
06:04because everything was so terrible
06:05that everything was dreams.
06:06Nick was himself
06:08a very vulnerable,
06:10very sensitive,
06:12almost too sensitive person
06:15in some ways,
06:16and in some ways
06:18very aggressive and assertive,
06:20in other ways extremely
06:22reticent and shy.
06:24And that combination is very good
06:26for a director with actors.
06:28particularly his real talent
06:31lay in what he could do
06:33with very young
06:34and tender
06:35and sensitive
06:36and insecure people
06:37like Cathy O'Donnell
06:39Farley Granger.
06:53Hello, hello.
06:54Do you do the marrying?
06:58That's my business.
06:59I have a $30 wedding
07:00which gives it completely
07:01according to the ceremony
07:02on records.
07:03I have a $20...
07:04What will you just marry us?
07:05That'll be $20.
07:06Tilly, Herman.
07:08Who are they?
07:09A sister and her husband.
07:11Witnesses.
07:12We have to have them?
07:13Oh, yeah.
07:14First you gotta sign your names.
07:16Over here.
07:18If you'll, uh,
07:25just sign the register.
07:27I'll rent your ring for a dollar,
07:37or sell you one for five.
07:40I'll buy one.
07:42Um...
07:43This one will do it.
07:45OK.
07:46Ah...
07:47I'll rent your ring for a dollar,
07:50or sell you one for five.
07:52I'll buy one.
07:53Um...
07:55This one will do it.
08:00I'm...
08:01OK.
08:02OK.
08:03OK.
08:06by virtue of the power vested in me
08:26I hereby perform this wedding ceremony
08:28do you Catherine take this man Arthur
08:31as your lawful wedded husband
08:32to love, honor, and cherish henceforth
08:33I do
08:35do you Arthur take this woman Catherine
08:37as your lawful wedded wife
08:38to love, honor, and cherish henceforth
08:39I do
08:41well put the ring on her finger
08:42by virtue of the power vested in me
08:49I now pronounce your husband and wife
08:51tip them into a dollar
09:05wish all the health, happiness, and wealth in the world
09:08Herman, you got a cold
09:11I'm sorry, I have
09:13that'll be $20 plus $5 for the ring
09:18you don't think much of my way of marrying people, do you?
09:27I sure don't
09:27me neither
09:29I'm giving folks what they want
09:30my way of thinking folks ought to have what they want
09:33as long as they can pay for it
09:35Nick has always made almost all his best pictures actually
09:40have been about people whom society was oppressing
09:45and society was crushing
09:46and who were almost doomed to be defeated by society
09:51well, Nick himself is not altogether outside that category
09:55in 1962
09:57having become one of the highest paid American directors
10:00Nicholas Ray dropped out of the film industry
10:03plagued by personal problems
10:05and discouraged by the compromises of commercial movie making
10:08for Ray
10:09the 60s were a long murky period
10:12marred by a stream of unrealized projects
10:14and by failing health
10:16in 1969
10:17he returned to the United States
10:19after a 10 year absence
10:20to make a film about the Chicago conspiracy trial
10:24what was it that captured your attention
10:27with the conspiracy trial?
10:29well, it was the greatest circus of bigotry
10:32I'd ever heard
10:34directed against young people
10:37who were the
10:39now the 32 and 33 year old equivalents of James Dean
10:44who wrote pamphlets that were
10:48of such sophomoric and collegiate humor
10:52like the stuff you write before homecoming games
10:56which were taken seriously by the court
10:58one day Lee Weiner came to me and asked
11:01if I were a friend of Groucho Marx's
11:06and I said yes
11:07he said do you suppose we could get Groucho
11:12as an expert witness for us
11:15and so we'll try
11:18and he said somebody has to explain our sense of humor
11:25and he's the only man in the United States
11:28that we know of who can explain our sense of humor
11:30and to see Dave Dellinger
11:36the oldest of the group
11:38and a
11:40a Quaker pacifist
11:44be the only one to put his
11:47body in front of Bobby Seale
11:50to protect him from the blows of the police
11:53there's so many things
11:56I'll make it someday
12:00after we finish this one maybe
12:03and the next one
12:05hey you bums look at them
12:12hey look at that bunch of
12:14look at those magnificent bastards in there
12:17get a shot of those cats
12:19I'll get in the window you smuck
12:24hey get in the window
12:26and he says you're a bastard
12:30I think you got your pancake on over there
12:32he says you're a bastard
12:33Nick came in and virtually changed
12:37the whole cinema department
12:38the whole idea of filmmaking
12:39and I think he has
12:41a huge amount of insight
12:43into everybody he's known for a while
12:46he uses
12:49he employs
12:50those insights
12:52for characters in a film even
12:55he's a con artist
12:59and he knows how to manipulate people
13:02if that
13:02that's an acceptable word
13:04but that's part of the talent of a director
13:07he's always wanted to
13:09be cherished by young people
13:11and
13:13he scorns his own generation
13:15which has
13:16rejected him
13:18apparently
13:19and he just likes working with young people
13:22as far as his role in the film
13:24which is an essential part of the whole film
13:28he's
13:30as a character
13:31I guess he's something like
13:33the parole officer in Rebel
13:34always caring for young people
13:38and
13:38he's been like a father to us
13:41and a counselor
13:42and a teacher at the same time
13:45Ray's unconventional teaching methods
13:49demanded intensive involvement from his students
13:51leading them to adopt a communal living arrangement
13:54that brought down continual harassment
13:56from conservative university authorities
13:58eventually the group was forced to move to a farm
14:00just outside of town
14:01gradually under Ray's direction
14:04teacher and students alike
14:05attempted to develop an original approach to filmmaking
14:08that would express in a new way
14:10the process of self-discovery
14:12that has always been one of Nick Ray's central themes
14:15look I like this quality
14:16I like this quality on here
14:18better than I like the correction one
14:21the overexposed one
14:25why do you like that one better?
14:27because I like it better
14:28now look
14:31this is dull
14:33this is one of the many aesthetic characters in the world
14:36look at it
14:37I know which shot it is
14:38I know which shot it is
14:39well this is dull as hell
14:41how did Bogart take to
14:45playing the part of the writer in In a Lonely Place
14:48which is rather a departure for him
14:50well
14:51I had taken the gun away from his hand
14:54for the first time
14:55and knock on any door
14:56and
14:59the second time
15:02he was
15:05ready for it
15:07a little bit more ready for it
15:09and he
15:12obviously
15:13loved it
15:14it's one of his favorite films
15:15but it was a very personal story
15:20a very personal story
15:24the last
15:25part of it
15:26I had written with Andrew Salt
15:30and
15:32Bundy
15:33had
15:33the Salt
15:35had
15:35headed east
15:37in the meantime
15:40I had separated from my wife
15:42Gloria Graham
15:43who was playing opposite Bogey
15:46and
15:49if I had let
15:50the producer Bobby Lord
15:52or Bogey know that
15:53you know
15:55they would have gone crazy
15:56or Harry Cohn
15:56would have gone crazy
15:57and
15:58so I said
15:59well look
16:00I'm having trouble
16:00with the third act
16:01make a
16:03make an apartment for me
16:05out of a couple dressing rooms
16:07because I don't want to drive to Malibu
16:09every night
16:10and
16:12I want to get down
16:15and
16:15get on stage
16:16and
16:17work at night
16:18which I did
16:20and Gloria behaved beautifully
16:21nobody knew that we were separated
16:23and
16:25I just couldn't believe the ending
16:29that Bundy and I had written
16:30I shot it
16:33because it was my obligation
16:34to do it
16:35then I kicked everybody off stage
16:37except Bogart
16:38Art Smith
16:39and Gloria
16:39and we improvised the
16:43ending as it is now
16:44the original ending
16:46we had
16:46written so that it was all tied up
16:49into a very neat package
16:50Frank Lovejoy coming in
16:52and arresting him
16:53as he was writing the last lines
16:55having killed Gloria
16:56and I said
16:59what shit
16:59I can't do it
17:02I just can't do it
17:03romances don't have to end that way
17:06marriages don't have to end that way
17:08they don't have to end in violence
17:10for Christ's sake
17:11you know
17:11and
17:12let the audience find out
17:15and make up its own mind
17:16about
17:17what's going to happen to Bogie
17:20and
17:20when he goes outside of the
17:23apartment area
17:24which was the first apartment
17:26I lived in in Hollywood
17:27by the way
17:28this is a very personal film
17:31Bogart plays a neurotic screenwriter
17:38with a violent temper
17:39who is unjustly suspected of murder
17:41the police investigation
17:43places an intolerable strain
17:44on his relationship with Gloria Graham
17:46right there
17:49the moment we see them together
17:52and talking
17:52right after my rap
17:54for the detective
17:54working within the studio system
17:58Ray like other directors
18:00often had to relinquish control
18:02of a picture
18:02at the vital stage of editing
18:04we mix the speaker over this
18:09right
18:10which take is this
18:24this is like
18:24take four or something
18:26listen to take six
18:27six
18:28if there is one
18:29and also
18:32I want to put back in
18:34because in seeing
18:36the assembly
18:38in Boston
18:39it struck me
18:43that we have no resolution
18:44to this at all
18:45and we must have
18:47that jump
18:48that jump
18:50of Leslie
18:50into Doug's arms
18:52pull it out
18:52why don't you do the tape
18:53how did you approach
18:58your cutting in Hollywood
18:59but I would cut every night
19:01after shooting
19:02as you want
19:03I usually have a rough cut
19:05of the film
19:06within a week
19:07after I finish
19:07but this is different
19:13this is a
19:13this is a method of teaching
19:19that we have come out
19:21for the film
19:22as we hope
19:25a very lucky accident
19:26now crescendo
19:36right from here
19:37before this part
19:39comes in before that
19:40now let's listen
19:42to another take
19:42if you can
19:43okay
19:43because I have one
19:46which is almost
19:47on the nose
19:47crescendo begins
19:49while we're on their backs
19:51oh right
19:51over on their backs
19:52right right
19:53so if I cut two bars
19:54I think that will
19:55no the two bars
19:57will bring you
19:57into the la la la la
19:59how have you organized
20:00your students work
20:01on this production
20:01following a rotation
20:03system with
20:04somebody being
20:06on one sequence
20:07somebody else
20:07being on another sequence
20:09that a person who may be
20:16emotionally involved
20:17in one sequence
20:19may not be doing
20:20as good an editing job
20:21as somebody else
20:22might do
20:23take him off
20:24put him onto
20:25something else
20:25do you find
20:28can you get a
20:29consistent rhythm
20:30to the picture
20:31that's my final job
20:32everything that goes
20:35through here
20:35now goes
20:36through me
20:36finally there can only
20:42be me
20:42finally there must
20:45be the director
20:46whenever you're ready
20:47Luke
20:48yeah okay
20:4816
20:49you ready
20:49turn up the lights
20:50please
20:51when the young
20:51french critics first
20:52began to develop
20:53the Otoa theory
20:54the concept of the
20:55director as the
20:56central creative force
20:57in the making of a
20:58film was a new one
20:59no other american
21:00director attracted
21:01more sustained enthusiasm
21:02from francois truffaut
21:04jean-luc goddard
21:05and their colleagues
21:06than nicholas ray
21:07je crois que ce qui
21:09nous avait attiré
21:10c'est qu'il y avait
21:11quelque chose
21:11d'européen
21:13chez cet homme
21:13d'hollywood
21:14en fait
21:15et qu'est-ce qu'il y
21:16avait d'européen
21:17c'était peut-être
21:17la fragilité
21:19la vulnérabilité
21:20des personnages
21:21principaux
21:21bien qu'il tournait
21:23quelquefois
21:23avec des vedettes
21:24comme john wayne
21:25ou un fray bogart
21:26et ces personnages
21:27masculins
21:28n'étaient pas
21:28machos
21:29ou sterling
21:30hayden
21:31il y avait
21:31cette grande
21:32sensibilité
21:33et surtout
21:36dans le traitement
21:37je dois dire
21:37des histoires
21:38sentimentales
21:39qui donnaient
21:39une impression
21:40de très grande
21:41réalité
21:41à une époque
21:42où le cinéma
21:42d'hollywood
21:43n'était pas
21:43facilement
21:44personnel
21:45ou autobiographique
21:46on avait toujours
21:47l'impression
21:47que les histoires
21:48d'amour
21:48dans les films
21:49de nicolas ray
21:50étaient des histoires
21:51vraies
21:52j'ai dit une fois
21:58et je suis prêt
21:59Ã le redire
21:59aujourd'hui
22:00devant cette caméra
22:01j'ai dit une fois
22:02qu'un film
22:03comme Johnny Guitar
22:03a eu plus d'importance
22:05dans ma vie
22:06que dans celle
22:06de nicolas ray
22:07c'est à dire
22:07que c'est un film
22:08pour lequel je me suis
22:09pris de passion
22:09dès que je l'ai vu
22:10mais j'étais critique
22:11au moment où je l'ai vu
22:12j'ai écrit dessus
22:13et j'ai écrit dessus
22:14plusieurs articles
22:15et on a commencé
22:16d'ailleurs comme ça
22:17une correspondance
22:18avec nicolas ray
22:19mais je parlais de ça
22:20Ã propos de Johnny Guitar
22:21qui est un film
22:22effectivement
22:22qui a une très grande
22:24importance dans ma vie
22:24je ne sais pas pourquoi
22:25parce que je l'ai trouvé
22:26très fort
22:27très profond
22:28sur les relations
22:30hommes-femmes
22:31et je crois
22:31que c'est le seul film
22:33c'est le seul film
22:36dans lequel j'ai vu
22:36traiter un thème
22:37qui est très intéressant
22:38dans un certain stade
22:40des relations amoureuses
22:40qui est l'amertume
22:41l'amertume de gens
22:43qui se sont aimés
22:44qui ne s'aiment plus
22:44et qui se revoient
22:45et je crois
22:46qu'aucun film
22:47n'a traité ça aussi bien
22:48que Johnny Guitar
22:49As their concept
23:02of the film evolved
23:03Ray and his students
23:05continually revised
23:06their scenario
23:07endlessly reshooting
23:08sequences
23:09By this time
23:12they've been working
23:13together for nearly
23:13two years
23:14how less
23:15what I feel
23:17is that I want
23:17I want to give
23:19Right, I know
23:20It's very difficult
23:21right now
23:22As the project's
23:25shortage of funds
23:26grew critical
23:27production would
23:28cease intermittently
23:29for want of cash
23:30to buy film stock
23:31Ray fell ill
23:32that winter
23:33and suffered
23:34from bouts
23:34of despair
23:35because
23:36because
23:36when you
23:38hadn't heard
23:39the blankets
23:39you're the one
23:40who wanted
23:41to come in
23:41and warm Tom
23:42originally
23:43as you did
23:44Right
23:45Right
23:46And so
23:47at this moment
23:48the company
23:49would work
23:49when it could
23:50from noon
23:51throughout the night
23:52until dawn
23:52in bitter cold
23:53functioning
23:54on a few hours
23:54sleep
23:55snatched
23:55between takes
23:56Action
23:59I don't think
24:06that I could
24:07have gotten
24:07or I could
24:08ever get
24:09such a good
24:10acting teacher
24:10I think
24:11he's the greatest
24:11teacher of acting
24:13in the world
24:14I'm really excited
24:16by that
24:16and the reason
24:17that I still
24:18work on the film
24:19because I've
24:20wanted to leave
24:21you know
24:21now for
24:21since May
24:24is because
24:27this relationship
24:29that I have
24:29with Nick
24:29is still
24:31very exciting
24:31the energy
24:33is still
24:33very high
24:33You don't even
24:37take time
24:37with me anymore
24:38Play your part
24:40or else
24:40get your ass
24:41off the set
24:41My concentration
24:42is on him
24:43in this angle
24:44and I don't
24:45want your
24:46personal hostility
24:48or whatever
24:49the hell
24:49you are feeling
24:50to take a part
24:52in the film
24:52at this point
24:54not at all
24:55not at all
24:57at all
24:57at all
24:58Leslie
24:58My personal
25:08hostility
25:08is not
25:09involved
25:09in the film
25:10it's not
25:10involved
25:10when I walk
25:11from there to there
25:12so I don't know
25:14what you're talking about
25:15Well then
25:17honey
25:18you haven't learned
25:18anything about
25:20acting
25:20If that's
25:21you know
25:22your judgment
25:22Right
25:23Keep it
25:24But I remain
25:28immune to it
25:28If I know
25:30what I know
25:30You sure
25:30know
25:31your immunity
25:32is you know
25:33Yes
25:34I will not try
25:38to convince you
25:39I will not
25:41try to convince you
25:42All you can do
25:44All you can do
25:44is just
25:45cut ass out
25:47If I waited for you
25:50four hours tonight
25:51that meant that I didn't
25:52You didn't wait for me
25:53for four hours
25:53I dare fucking to
25:54I beg your pardon
25:56I beg your pardon
25:58Tell me when you
26:02waited for four hours
26:03from 8.15
26:04till 12
26:058.15
26:06you called
26:07That's right
26:07Who did you talk to
26:09Judy
26:10So how did you
26:15wait for me
26:15Because she's
26:16part of the crew
26:17I thought there's
26:19some kind of
26:19communication
26:20We waited for you
26:32for Christ's sake
26:33Well how was I
26:33going to get over here
26:34Somebody was going
26:36to come after you
26:37But they didn't
26:37And I called
26:38and no one came
26:39You were going
26:40on the campus
26:40I was not
26:41You said
26:42don't go on campus
26:43It would be better
26:43for you not to
26:44because then it would
26:46take even an hour
26:46You're talking bullshit
26:47I am not
26:48You're talking
26:49petty bullshit
26:50I am not
26:51Four hours
26:52is a lot of time
26:52You want to talk
26:53about the part
26:54I'll talk about
26:55the part
26:55I will not talk
26:56about petty bullshit
26:57It's not petty bullshit
26:58It's a matter of time
26:59That's all
27:00And if time
27:02is of the essence
27:03in this film
27:04then it's not petty
27:05Do you have any
27:17questions about this?
27:18No
27:19No, I just woke
27:19from there to there
27:20What is the actual
27:33scene for what it is?
27:36How do you feel?
27:38How right
27:38Right
27:39Even though I love you
27:41Good
27:43Good
27:43I don't want to feel
27:48any kind of
27:49reluctance at all
27:49You should
27:52It's for the scene
27:56Because you want
27:58to do that thing
27:59for him
28:00To show him
28:02So it's with
28:05reluctance
28:05you give them
28:06to her
28:06And that is
28:08this is the
28:09only moment
28:10of heroic action
28:11All right
28:16Ready for picture
28:17please
28:17Ready
28:19That's okay
28:21Roll them
28:22Sound on
28:23Camera on
28:24Speed
28:25Action
28:26All right
28:34Now
28:34Turn that way
28:36again
28:36I like this very much
28:58I just want to see
28:59the other
29:00kind of graciousness
29:02coming to it
29:03I want to extend
29:09extend the moment
29:13a little longer
29:14because what may
29:16take a moment
29:18or just a second
29:22in the thought
29:23is the kind of
29:27miracle we film
29:28where
29:28you can extend
29:31that thought
29:32into
29:3230 seconds
29:3540 seconds
29:36now we want
29:38to extend
29:39it to 8 seconds
29:39The move
29:49was good
29:50So I think
29:58it's
29:59move first
30:00and then
30:01they
30:01Okay
30:02darling
30:03you
30:03you do it
30:05Leslie
30:17Ah
30:17wonderful
30:20Thanks
30:21I try not to
30:23direct them
30:23until
30:24just before
30:25the scene
30:25which is part
30:26of what the
30:26hassle was
30:27about last
30:28night
30:28and
30:29but when
30:30the person
30:30has the
30:31stink of the
30:31gallows
30:32about her
30:32then you
30:37then you're
30:39bound to
30:39run into
30:40the same
30:42thing that
30:42you might
30:43run into
30:43with a
30:44Tallulah
30:44bankhead
30:45or
30:46well hell
30:51I've only
30:51had two
30:52fights with
30:52actors in
30:53my life
30:53really
30:54and
30:56you use
30:57what is
30:59of their
30:59essence
31:00at the
31:00moment
31:00because
31:04that is
31:04their easiest
31:05reference point
31:06and you
31:07have to be
31:07aware of
31:07that and
31:08how to
31:08agitate
31:09it
31:09how to
31:10make it
31:12work for
31:13you in
31:13the scene
31:14what their
31:15immediate
31:15concern
31:16is
31:17he showed
31:18me about
31:19a year
31:19ago
31:20little bits
31:20of the
31:21bingham film
31:21and some
31:22of them
31:22I couldn't
31:23tell what
31:23the whole
31:24film was
31:25like at
31:25all
31:25there wasn't
31:26enough of
31:26it
31:26but I
31:27saw a
31:28couple of
31:28sequences
31:28that were
31:29quite
31:29amazing
31:30and
31:31really
31:32reminded
31:32me
31:32of
31:33Nick's
31:33kind
31:35of
31:36talent
31:37which he
31:37was
31:37showing
31:37in the
31:38days
31:38when he
31:38was
31:38making
31:39Rebel
31:39Without
31:39A Cause
31:40those
31:40extremely
31:41passionate
31:43and vital
31:44pictures
31:45about
31:45the
31:45young
31:46How did
31:47you get
31:48the part
31:48in Rebel?
31:48Well
31:49Nick
31:50made a lot
31:51of tests
31:51of different
31:54girls
31:54I think
31:54there were
31:55about 50
31:55of us
31:55and it
31:56sort of
31:56narrowed
31:57down
31:57there were
31:5750 to
31:58begin with
31:58and the
31:59second
31:59day
31:59was
31:59down
31:59to
32:0010
32:00and
32:00the
32:00third
32:00day
32:01I
32:01think
32:01was
32:01down
32:01to
32:015 or
32:046
32:04but the
32:04big
32:04problem
32:05was
32:05that I
32:07had really
32:07up to that
32:08point
32:08only played
32:08children
32:09and although
32:09I was
32:1015
32:10the last
32:11thing I
32:12did was
32:12in
32:12pigtails
32:13or something
32:13and so
32:13I was
32:14finding it
32:14difficult
32:14to convince
32:15and Nick
32:16was also
32:16finding it
32:17difficult
32:17to convince
32:17the studio
32:18that I
32:18was
32:18out of
32:19pigtails
32:20so one
32:20day
32:21I came
32:22on an
32:22interview
32:22with a
32:23boyfriend
32:23who had
32:23a cut
32:24on his
32:25face
32:25and Nick
32:25said
32:26where did
32:26he get
32:26that
32:27and I
32:28said
32:28drag
32:29racing
32:29and then
32:30shortly
32:31afterward
32:31I was
32:32actually
32:32in a
32:33bad car
32:34accident
32:34with
32:35Dennis
32:35Hopper
32:35in which
32:36Dennis
32:36was driving
32:37too fast
32:38and we
32:38were all
32:38thrown
32:38from the
32:39car
32:39and brought
32:39to the
32:39hospital
32:40and I
32:42was sort
32:42of
32:42semi-conscious
32:43and they
32:44were
32:45the police
32:45were called
32:46and they
32:46were asking
32:46me my
32:48parents phone
32:48number
32:49and I
32:49kept saying
32:49it's Nick
32:51Ray
32:51call Nick
32:52Ray
32:52and the
32:52number
32:52is
32:53so forth
32:53and so
32:54forth
32:54the number
32:54of the
32:54Chateau
32:55Marmont
32:55and I
32:55just kept
32:55repeating
32:56that
32:56and so
32:57that's
32:57who they
32:57did
32:58call
32:58and Nick
32:59sent his
32:59doctor down
33:00to the
33:00hospital
33:01and then
33:02he came
33:02down
33:02and I
33:03said
33:03Nick
33:03they
33:03called
33:03me
33:04a
33:04goddamn
33:04juvenile
33:04delinquent
33:05now do
33:05I get
33:06the part
33:06and I
33:08got it
33:08no director
33:09that I'd
33:10ever worked
33:10with
33:10had ever
33:11improvised
33:13and Nick's
33:15bungalow
33:15at the
33:16Chateau
33:17Marmont
33:17where he
33:17lived
33:17was the
33:19set was
33:22built
33:22from that
33:23so that
33:23when we
33:23rehearsed
33:24we really
33:24rehearsed
33:25as though
33:25in a set
33:26and we
33:27improvised
33:27most of
33:27the scenes
33:28could you
33:29tell us
33:30something
33:30about
33:31the relationship
33:32between
33:32Nick
33:33Ray
33:33and Jimmy
33:33Dean
33:34well
33:36they obviously
33:38had become
33:38very close
33:39because before
33:39the film
33:40started
33:40they sort
33:41of hung
33:41around
33:41together
33:42and as
33:43you mentioned
33:43went to
33:43New York
33:44and so
33:45that Jimmy
33:45trusted Nick
33:46a great deal
33:47and I think
33:47Nick was
33:50very fatherly
33:50towards Jimmy
33:51I mean he was
33:52to Sal
33:53and to myself
33:54as well
33:54but I think
33:57Nick just
33:58absolutely
33:58understood Jimmy
33:59they were just
34:00completely in tune
34:01in personality
34:01I guess
34:02maybe Jimmy
34:03reminded Nick
34:04of himself
34:04a great deal
34:05so that there
34:06was never
34:07any friction
34:07as there was
34:08between Jimmy
34:09and other directors
34:10that he worked
34:11with
34:11and it was
34:12just a wonderful
34:13blend
34:14and Nick
34:16brought out
34:16this feeling
34:17of trust
34:17in Jimmy
34:18but working
34:19with Jimmy
34:19was
34:20like a real
34:26real joy
34:28but I had
34:31the advantage
34:32of his
34:33having worked
34:33with Kazan
34:34and where he
34:40at least
34:40had a
34:41method
34:43of beginning
34:44I developed
34:46the method
34:47a little bit
34:47more
34:48because Kazan
34:50and I
34:50had matriculated
34:51about the same
34:52time
34:52in the theater
34:54and he had
34:55taught me a lot
34:57I think
34:58I'm
34:59I think
35:00the nicest
35:01thing Gadge
35:01ever said
35:02to me
35:02was
35:02how did
35:04you get
35:04that
35:04spontaneous
35:05performance
35:06out of Jimmy
35:07but method
35:09changes
35:09with
35:10damn near
35:11every actor
35:12and I honored
35:13his imagination
35:14more than
35:15almost anything
35:15else
35:16Dean was the
35:17only one
35:18in the cast
35:19who had
35:19any real
35:19comprehension
35:20of method
35:21or of the
35:22school of theater
35:24in which I had
35:25grown up
35:25and
35:27you couldn't
35:33use the word
35:34improvise
35:35if you used
35:35the word
35:36improvise
35:36with people
35:37like Andoran
35:39or
35:40Jim Bacchus
35:42or Virginia
35:44Brissack
35:44they'd say
35:47oh this
35:48oh this
35:49artsy school
35:49hmm
35:50and
35:52and
35:53so you
35:56I'd use
35:57old
35:57volvillian
35:58terms
35:58the director
35:59has to be
35:59able to
35:59work with
36:00everybody
36:01from every
36:02every school
36:04you know
36:05no cast
36:06is ever
36:06made up
36:07of really
36:08the same
36:09people
36:09the same
36:09background
36:10so you
36:13have to
36:13use all
36:15the techniques
36:16you've ever
36:16learned
36:17whether
36:17what you
36:19learned
36:19from a
36:19vaudevillian
36:20or from
36:20an old
36:21leading man
36:21like Fuller
36:22Mellish
36:23who came
36:23over with
36:23Henry Irving
36:24and Minnie
36:25Madden
36:25Fisk
36:25or
36:26burlesque
36:29people like
36:30Red Buttons
36:30or Phil
36:34Phil Silvers
36:34or
36:35or from
36:40miners
36:40or shrimp
36:41fishermen
36:41or
36:42or your own
36:49peers
36:49as you grow
36:50up in the
36:51theater
36:51it's a
36:53Cary Grant
36:55for instance
36:55as a
36:56as a
36:58fellow
36:58like
36:59Duke
37:00Ellington
37:01has
37:01in his
37:02trunk
37:03so many
37:05tunes
37:06well
37:07Cary Grant
37:08has
37:08so many
37:09notes
37:10of sunsets
37:11so many
37:12jokes
37:12so many
37:13things that
37:14he's collected
37:14and remained
37:15collecting
37:15every single
37:16year of his
37:17life
37:17you know
37:18that
37:19his
37:20memory
37:21his
37:21effective
37:22memory
37:22is always
37:24implemented
37:24by
37:25an
37:26easy
37:27reference
37:28he has
37:30them in
37:30the trunk
37:31he doesn't
37:31have to
37:31refer to
37:32them
37:32because
37:32the
37:33compartments
37:33of the
37:33brain
37:34have
37:34them
37:34but
37:35having
37:35written
37:35them
37:35down
37:36having
37:36noted
37:36them
37:37having
37:37taken
37:37the
37:38the
37:38visual
37:43memory
37:43of
37:44like that
37:45tree
37:45between
37:46those
37:46two
37:46little
37:47shacks
37:48there
37:48being
37:50something
37:50which
37:51he
37:51might
37:53remember
37:53in
37:53the
37:53scene
37:54say
37:55why
37:55don't
37:55we
37:55use
37:56that
37:56after
37:59rebel
37:59without
38:00a
38:00cause
38:00nicholas
38:01ray
38:01continued
38:01to
38:02produce
38:02some
38:02extraordinary
38:02work
38:03although
38:05he was
38:05one of
38:05hollywood's
38:05most
38:06respected
38:06directors
38:07ray
38:08still
38:08suffered
38:08studio
38:09interference
38:09that
38:09baudelarized
38:10his
38:10conception
38:11on
38:11several
38:11films
38:12and he
38:12began
38:13to
38:13work
38:13abroad
38:13thereafter
38:15he
38:15drifted
38:15from
38:15one
38:16project
38:16to
38:16another
38:16through
38:17the
38:17byzantine
38:18complications
38:18of
38:18independent
38:19production
38:19and
38:20multinational
38:20financing
38:21compromises
38:23were still
38:23required
38:23but
38:24ray
38:24did
38:25enjoy
38:25a measure
38:25of
38:25autonomy
38:26beyond
38:26that
38:26generally
38:27accorded
38:27him in
38:27hollywood
38:28then in
38:301960
38:31he was drawn
38:32into the world
38:33of blockbuster
38:33spectacles
38:34although he brought
38:35his immense visual
38:36talent
38:37and some original
38:38conceptions to the
38:39rather inflated
38:39material
38:40nicholas ray
38:41seemed glaringly
38:42out of place
38:43overseeing the
38:44massive
38:44technology
38:45and impersonal
38:46logistics
38:47of a king
38:48of kings
38:49or a
38:4955 days
38:50at
38:51peking
38:51why did
38:52he get
38:52discouraged
38:53this is the
38:55terrible evil
38:56i think
38:57of the
38:57hollywood system
38:58i think you
38:58end up
39:00because you do
39:01get screwed
39:02occasionally
39:03by
39:03studios
39:04you do
39:05get frustrated
39:05they do
39:07mess up
39:08your work
39:08and make it
39:09more difficult
39:09for you
39:09to work
39:10or they did
39:10in those days
39:11when the
39:11studios
39:12really existed
39:12they don't
39:13really exist
39:13anymore
39:14in that sense
39:15i think nick
39:17was probably
39:18much more
39:18vulnerable
39:19than other
39:19people
39:20everybody has
39:20this
39:21but whereas
39:22a man like
39:23kazan
39:23was able
39:24who's tough
39:25as nails
39:25was able
39:26to take it
39:26in stride
39:27i think nick
39:28finally was
39:29partially destroyed
39:31by it
39:31and became
39:32almost perverse
39:33in his
39:34in his
39:36resistance
39:36in his
39:37almost being
39:39prepared to be
39:39screwed
39:40before
39:41anticipating
39:42the screwing
39:43before they
39:44actually
39:44occurred
39:45now that
39:46is not
39:46rare
39:46that happens
39:47to many
39:48directors
39:49and many
39:49people who
39:50work in
39:50the business
39:50it affected
39:51nick
39:51more than
39:52other people
39:53most film
39:55courses
39:56or film
39:57classes
39:57concentrate
40:02on
40:03getting rid
40:07of the
40:07responsibilities
40:08of the
40:08students
40:09as quickly
40:09as possible
40:10by putting
40:10them off
40:11in corners
40:11and shooting
40:128mm
40:12films
40:13which
40:13they can
40:14do all
40:15by themselves
40:15and
40:18present for
40:20a senior
40:21thesis
40:21therefore the
40:23emphasis
40:23is on
40:24kind of
40:24static
40:25camera
40:25with a
40:27of
40:28with cute
40:31ideas
40:32or masturbatory
40:33ideas
40:33or date
40:35making
40:35ideas
40:36or anything
40:38except the
40:39relationship
40:41with other
40:41human beings
40:42and film
40:45is a collective
40:45art
40:46it's an eclectic
40:46art
40:47it's a collective
40:47art
40:48and
40:50and it's
40:53by its own
40:56nature
40:57become the
40:57most
40:57communicative
40:59art
40:59that we
40:59have in
41:00the world
41:00and the
41:03only two
41:03great
41:03ambassadors
41:04we've
41:04ever had
41:05from the
41:05United States
41:06have been
41:06jazz and
41:07film
41:07and that
41:11doesn't come
41:11from sitting
41:12off in a
41:12corner
41:12for all
41:22his
41:22hardships
41:23Nicholas Ray
41:24remains both
41:25intransigent
41:25and optimistic
41:26facing an
41:28uncertain future
41:28determined to
41:29make films
41:30in his own
41:30way
41:31in a sense
41:32each project
41:33he undertakes
41:34might be likened
41:35to the blind
41:35run in
41:36Rebel Without a Cause
41:37as a slightly
41:38mad test
41:39of courage
41:39that leads
41:40him up to
41:41and perhaps
41:41over the
41:42edge of
41:42disaster
41:42while Ray
41:44did find
41:45in Binghamton
41:45momentarily
41:46a kind of
41:46community
41:47and collective
41:47endeavor
41:47for which
41:48he had
41:49long been
41:49searching
41:49in the end
41:51Nick Ray
41:52knows that
41:52he must
41:52drive his
41:53blind run
41:53alone
41:54as he has
41:55often remarked
41:56the working
41:57title of
41:57every film
41:58he has
41:58ever made
41:58has been
41:59I'm a
42:00stranger
42:00here
42:00myself
42:01uh
42:04the little
42:04camera
42:05on this
42:05uh
42:07it might
42:17be good
42:18emotionally
42:18for you
42:19to take
42:19the low
42:20camera
42:20as she's
42:27putting
42:27the blankets
42:28on Tom
42:28yeah
42:29go ahead
42:34that you
42:34tip up
42:35to her
42:35what do
42:38you mean
42:38I take
42:38a camera
42:38that's
42:39that's
42:39the low
42:40camera
42:40as the
42:41bikers
42:42come
42:42on
42:42to her
42:43you
42:44should
42:44be the
42:4475
42:45here
42:45and
42:47you tip
42:49up
42:49it
42:49I think
42:52this
42:52emotionally
42:53is a good
42:54thing
42:54alright
42:55okay
42:55footage
42:58please
42:59um
42:59155
43:01it looks
43:02very beautiful
43:03to me
43:04that's a wrap
43:06up
43:09so
43:14I
43:17can
43:23so
43:25I
43:28can
43:29you
43:30can
43:31I
43:33can
43:34I
43:35can