Jeffrey Wells posted an interesting commentary today over at
Hollywood Elsewhere, postulating that Hollywood major players are far less
supportive of their fellow filmmakers than their counterparts, past and
present, in other countries. And got me to thinking about something the late,
great John Cassavetes told me way during an interview way back in 1985. You can
read the entire article I gleaned from our conversation in Gabriella Oldhman’s
exceptional anthology John Cassavetes: Interviews, recently published by the University Press of Mississippi.
(Mind you, I’m not saying it’s exceptional simply because she included something
written by me — but, hey, that didn’t hurt.) This particular segment, however,
I feel is especially relevant in light of Wells’ observation:
So, at 55, John Cassavetes is still a maverick, eh?
The
question elicits a melancholy smile. Cassavetes stares at his soft drink for a
moment as he calmly considers his answer. “People used to love to call me a
maverick, because I had a big mouth, and I’d say, ‘That
bum!’ or something like that when I was young. Mainly, because I believed it,
and I didn’t know there was anybody’s pain connected to the business. I
was so young, I didn't feel any pain. I just thought, ‘Why don’t they do some
exciting, venturesome things? Why are they just sitting there, doing these dull
pictures that have already been done many, many times, and calling them
exciting? That's a lie — they're not exciting. Exciting is an experiment.’
“Now, from the point of view of a guy in his 20s, that
was true. But when I look back on it, I think, yes, that man was a maverick.
But...”
His words trail off into weak laughter.
“That reputation keeps with you, through the years. Once
the press calls you a maverick, it stays in their files. I’ll be dead five
years, and they'll still be saying, ‘That maverick son-of-a-bitch, he's off in
Colorado, making a movie. As if they really cared.
“You know, in this business, it's
all jealousy. I mean, this is the dumbest business I’ve ever seen in my life.
If somebody gets married, they say, ‘It’ll never work.’ If somebody gets
divorced, they say, ‘Good. I'll give you my lawyer.’ If somebody loses a job, everyone will call him -- to gloat. They’ll discuss
it, they’ll be happy, they’ll have parties. I don't understand how people that
can see each other all the time, and be friends, can be so happy about each
other’s demise.
“I think people, studio executives and filmmakers, should
hate each other openly, and save a lot of trouble. It’s like me and actors. I
never get along with actors, not on the level of friendship, because I don't
believe in it. Only on a creative level. Now, through a period of years, Peter
Falk and I have become very good friends, as have Ben Gazzara and I. But only
after a period of years. That friendship came out of working on Husbands together, and the success that
came out of that. And a lot of other films, too. Sometimes, we’ve been
successful, and sometimes we've been unsuccessful. I mean, the creative part of it has always been successful. That’s been the bargain of it, our
relationship.
“But I’m sure that, the moment I was no longer interested
in anything artistic, Peter would not be my friend anymore. And that would be
fair game. I probably wouldn’t be his friend, either, if I weren’t interested
in art.”
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