I have been enjoying the discussion because - though I think it is
patently clear to most of us that the role of the critic and film
writing generally *is* not only valuable but vital - it's interesting
to hear reflections on just where that value lies.
The example of Kael advising Altman on a cut of his film was
revealing... Personally, I think that was a pretty good idea! Kael
would have been in her capacity as a film *viewer*, not so much as
critic. Opinions from perceptive people are surely always worthwhile.
Robinson wrote:
> Finally, I offer for comparison two anecdotes about Kael and
> Sarris; legend has it that Robert Altman used to show her rough
cuts and solicit her advice on how to finish cutting the film, which
she would eagerly give (so at least one director values a critic's
input), but when he asked Sarris the same thing at a party Sarris
reputedly replied, "That's your job, not mine."
> I'm with Sarris on that one.
Just incidentally, this anecdote is interesting because you sort of
get the sense from it that Altman must have been rather insecure at
that point in his career - especially with him asking Sarris to do
the same and being rejected. This is probably not the case at all...
It may be because the stereotype of the great filmmaker - or indeed
any artistic 'genius' - is that he (and I use the pronoun advisedly)
neither asks for nor requires advice because his vision is so unique,
strong and unwavering.
Of course I don't know for certain but I'm pretty sure this is
completely untrue. The concept of the artistic genius is one that
remains in need of updating, in my opinion.
I wonder if anyone knows of a specific instance where a filmmaker has
actually altered their career path - such as say, their choice of
subsequent project - due to the influence of a critic (and I don't
mean been so demoralised that they never worked again!)
Critics sometimes write about the sort of film a director *should* be
making, or the genre that they should explore etc. and I wonder if
anyone's ever taken them up on that and what the result might have
been.
I've no doubt that various filmmakers have real respect for some
critics. I'm interested in examples of where this relationship
becomes a more direct communication - with evidence of quantifiable
cause and effect. Because of course filmmakers do *not* operate in a
vacuum (as has been pointed out) and 'genius' is not necessarily
all-seeing.
Richard Armstrong wrote:
>In order, perhaps, to counter some of the charges of redundancy,
cultural sponging and amateurishness which Simmons (and others in
other contexts) raise from time to time, I am currently working on an
encyclopedia of film >writing
I hope you will notify this list when this work is available!
Regards,
Briony
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