The pages in this section of Ray Carney's www.Cassavetes.com site contain letters written to Prof. Carney from artists about the Shadows, Faces, Criterion, and Kiselyak situations. The letters written to Prof. Carney are in black; his responses and comments are in blue. The letters on this page are only a small sample of the ones he has received pertaining to these issues. Note that another large section of the site, "The Mailbag," contains many more letters about other matters. To go to "The Mailbag" click
here.
To learn more about the events these letters are commenting on, consult the links in the top menu of any of the pages in this section, which tell the story of Carney's discoveries of a new print of John Cassavetes' Faces, his discovery of a print of the long-lost first version of Shadows, his work on the Criterion DVD box set of Cassavetes' films, and his work as the scholarly advisor on a documentary film about Cassavetes.
To read specifically about Gena Rowlands's response to Prof. Carney's discovery of the new Faces print, click
here. To read specifically about Rowlands's response to Prof. Carney's discovery of the first version of Shadows, click
here.
To read a chronological listing of events between 1979 and the present connected with Ray Carney's search for, discovery of, and presentation of new material by or about John Cassavetes, and the attempts of Gena Rowlands's and Al Ruban's to deny, suppress, or confiscate Prof. Carney's finds, click
here.
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Mr. Carney,
When the day started, I didn't
expect to be writing you. Last night, I saw "Shadows" by John
Cassavetes. I was so impressed and amazed by it that I did a web search
about him today and came upon your site. When I read all of the "stuff"
(for lack of a better word) that has been going on with you and his widow...wow.
I never knew or imagined. Anyway, I have three questions for you.
First, on amazon.com, it says
the DVD of "Faces" that was released in the Cassavetes Box Set
includes 17 minutes of opening footage not seen before. I don't understand
why Ms. Rowland would allow this to be shown when she didn't want the
footage you found of "Faces" to be shown or the first edit of
"Shadows" to be shown?
Second, why would Ms. Rowland's
allow your essay to be included on the back and insert of the "Shadows"
DVD which states there was an earlier version of "Shadows" which
she claims does not exist?
And third, I read an online
review of "Shadows" which states the original "Shadows"
was a movie about racism and the longer version that was released was
not about racism. After viewing "Shadows", I feel that while
the longer version is not explicitly about racism it is still an integral
part of the film. Was this person trying to say that the first version
was entirely about racism?
Thank You very much for your
time. Before last night, John Cassavetes was a tribute song done by the
band Le Tigre. I had never gotten the chance to see any of his films.
Now, I want to know as much about the man as I can.
Be Sound,
Skip Mountain
Ray Carney replies:
Mr. Mt.,
Sorry to be
brief, but I am inundated by emails from all over the world, each expecting
personal answers.
Short answer:
All of your questions are answered in my writing. Buy the books--from
the site or elsewhere. But some of the books are available only on the
site (Necessary Experiences, What's Wrong...., and Why
Art Matters, for example). Read the books.
Less short
answer (but still brief):
1) Gena Rowlands and Al Ruban kicked and screamed and resisted releasing
both any of Faces and any of the alternate cut of The Killing
of a Chinese Bookie (and of course the first version of Shadows
too). I fought for the inclusion of all three. But I, via producer Johanna
Schiller and boss Peter Becker, did persuade them that they were shooting
themselves in the foot with their obduracy. That they were wrong, stupid,
foolish. After months of persuasion, they finally saw the light in part
and including the 17 min. of Faces and the other version of Bookie
were the compromises they agreed to. They never would agree to including
the first version of Shadows. I took a bullet in the end for
all of it. But I did the right thing. Neither of the other films' (Faces
and Bookie) alternate material would be in the set at all if
I hadn't pushed for months.
2) I can't
understand your question. My writing on Shadows is NOT included
in the Criterion DVD. (I do have a set of essays on another DVD set about
Cassavetes done years ago by Pioneer but that is a different matter.)
Nor was the voice-over commentary I spent weeks writing and three days
recording in a sound studio. Gena threw that overboard when she made me
walk the plank. The voice-over was removed and all references to it having
been done were suppressed. You won't find a whisper of any of it -- or
of my considerable involvement -- in the box set, the publicity, or the
reviews. It's a little like the way the old Communist and Fascist regimes
worked. Rowlands re-wrote history by forcing Criterion to remove references
to anything that didn't tell the story her way. All references to the
voice-over work I did and to every other aspect of my massive input into
the DVD set were removed by Criterion. That's the way real censorship
works. When you don't like something, it ceases to have ever existed.
3) As to the
racial themes in Shadows, see my Faber/Farrar Cassavetes
on Cassavetes and British Film Institute Shadows books.
They have much about this. The books not the web site. As to whether the
first version is more "racial" than the second: No, it's not.
Whoever wrote that doesn't know what he/she is talking about. (Not the
only one I would put into this category.) There are many many differences
between the versions, many different scenes and even different characters,
too much to summarize here; but one difference I can put into a few words
is to say that the first version is much more about the boys than the
later version and much more told from a male perspective. It throws a
lot of light on Husbands in this respect.
In haste,
RC
Dear Professor Carney,
I recently discovered the genius of John Cassavetes while taking a film
course entitled "Images of Women in American Film 1960-1990."
I was blown away by A Woman Under the Influence.
Screening the film for the film club I advise at Weymouth High School, where I teach, was one of the high points of my career. The kids also
were fascinated by the film, and a rabid discussion followed. Subsequently, I
began a quest to learn everything I could about Cassavetes. I found your book, and also your website. In perusing
your website, I found your essay regarding the first print of Shadows
to be fascinating. I noted your comment that anyone hoping to see the
first version of this film needs to sit in on one of your classes when
you screen it, and was wondering when you were next screening it, and
if I might impose upon you to sit in on your class to view the film. Thank
you for your scholarship and for your time.
Sincerely,
John Pappas
Language Arts Department
Weymouth High School
Ray Carney replies:
Thanks
John. That's a Greek name isn't it? Reminds me of the time I flew
to Tarpon Springs,
Florida to speak to a Greek organization run by
a guy named John Pyros. The only time in my
experience any group of Greeks has shown the slightest interest in Cassavetes.
Strange, eh? Other ethnic groups are better at supporting "their
people." You know the groups I mean. Well, that's
my experience at least. So it's nice to get an
inquiry that is an exception.
As to your question: I feel
I've answered it a gad-zillion times already:
Yes, you are welcome to come if I show it. But no, it won't be shown anytime in the near future in my classes. My
grad students (and most of the undergrads, who are--speaking frankly--slightly
more "hip" to "what's happening") are just not interested
in seeing it. I showed it last year and half of them slept through the
screening, or at least didn't seem to give a
darn. Conducting a post-screening discussion was like pulling teeth. I
honestly believe that if I announced a course tomorrow on "Behind
the Scenes: John Cassavetes' creative process: the examples of Shadows,
Faces, Husbands, Woman Under the Influence, The Killing
of a Chinese Bookie, and Love Streams" (all films that
I have four or five screenplay versions of and/or multiple edits of in
my possession to share with the class and discuss), it would not enroll
enough students to be offered. The grad. students (and most undergrads, also) would rather
take courses in Tarantino, The Matrix, the Coen
brothers, Hong Kong cinema, film theory, Japanese anime, feminist film
("Images of Women in Film"?!), Paul Thomas Anderson, Wes Anderson,
Star Wars -- or practically anything other than Cassavetes. And my
Dean would prefer that too. Fashion slaves all. That's
the reality in which I live. I've resigned myself
to it. So no pulling teeth. No Shadows
first version screenings. (But if you want a quick taste, a bit of a "teaser," click here to view three brief video clips from the first version.)
Sorry to be discouraging,
but them there's just the facts, ma'am. As a
fellow teacher (and "Film Club" advisor), I'm
sure you know the feeling. Sometimes what matters most to you and me is
completely irrelevant to them. And to most of America. (I have yet to see a single report in the
mass American media on the discovery.)
All best wishes,
RC
Re: Cassavetes
on Cassavetes
Dear Mr. Carney,
I just wanted to thank you
for writing the book "Cassavetes on Cassavetes." I am 21 years
old and currently making a film on my own and reading your book was incredibly
inspiring, definitely the best book on film I've ever read. I've read
some of the articles on your website detailing the problems with the Criterion
Collection situation and it's very depressing to think that a man who
worked so hard to express his personal vision has had his work so neglected
both while he was alive and after his death (usually a time when great
artists, if unappreciated during their lifetime, finally are recognized
for their genius). I read a Playboy interview with Mr. Cassavetes on the
internet about a year ago and that's what first got me interested in both
him and his work. When I got the Criterion boxset, I was blown away by
his films and looked forward to the "Constant Forge" documentary.
Thank you for clarifying what I felt when I watched it, that it was an
insult to Mr. Cassavetes and his work. I can only hope that someone with
balls is someday in enough of a position of power that we can all see
Mr. Cassavetes work the way it was intended. I fear that there aren't
many filmmakers among my generation who fit this description. It's really
a joke that Love Streams, Husbands, and Minnie and Moskowitz are not available
on video. After reading your book I'm dying to see them.
I relate to the passion, energy,
fire, and overall approach to life of Mr. Cassavetes more so than I do
to any other filmmaker (or person really) and it saddens me that I will
never be able to meet him. Your book should be mandatory reading for all
film students. I wish you luck in your continued efforts on behalf of
Mr. Cassavetes legacy. If I am ever in a position where I could be of
help, I will do whatever I can. All the best, and a sincere thank you.
Alex Gladwell, Toronto
Ray Carney replies:
Thanks for
the kind words! And I am glad the Cass on Cass book inspires
you. It was inspiring to write too! And yes, the story of his life remains
to be told in a documentary. Kiselyak's doesn't cut it. Someone else should
do it right.
All best wishes,
Ray Carney
Mr. Carney,
The material on your website
regarding the Gena Rowlands/Al Ruban backlash is an extremely interesting
follow up to your wonderfully written book Cassavetes on Cassavetes.
I will be re-reading my copy of the book very soon. On one hand, I might
be able to empathize with Rowlands. In a way, she is trying to be the
good widow. However, she has taken this to a disgraceful level. She has
revealed herself to be an out of touch and extremely manipulative woman.
I won't be buying the Criterion
Collection Box Set which I had planned on buying. A few years ago when
I discovered Cassavetes in college (from a compelling article you wrote),
I was lucky to find his films at a library at the University of Florida
so I've already seen them.
I'm debating whether or not
I should be getting rid of some of my DVDs produced by Criterion. It's
incredible that they could be so low-brow when they have positioned themselves
as wanting to preserve the integrity of different works of art.
After everything that you have
done to create a following for the films of Cassavetes, I am truly sorry
that you have had to go through this mess. Rowlands should be ashamed.
If I can donate or help in some way I would like to. I'm going to be starting
a film within the next few months from my hard earned savings, but I'd
like to help you if even in a small way. We need more people like you
to buck the system. I once read a tagline along the lines of "A cinematic
Noam Chomsky or Ralph Nader" but I've never thought that was accurate.
This situation proves it. Those people don't take real risks. Chomsky
and Nader will always be popular among the beautiful people. In a world
where everything is so protected, you have taken risks with your own money
and your own reputation for your ideals.
Parag
Ray Carney replies:
Dear
Parag,
Well, we may
disagree about Noam Chomsky and Ralph Nader, both of whom I regard as
great American heroes (and as people who do put their money where their
mouths are), but that's a trivial quibble. Thanks. I appreciate your kind
words.
And your kind
offer. I always need help with my publishing and research projects since
I get little or no financial support for them from my university. Most
of them could not have been done without an army of volunteers helping
out. (The Acknowledgments pages in the back of the Cassavetes on Cassavetes
book lists the dozens of students, former students, and lovers of film
who helped on that project.) But I'll have to put on my thinking cap and
let you know if there is anything you could do at a distance. It's always
easier when someone is in the area.
I wish you
luck on your film. And don't let the Criterion fiasco get you down. I'm
sure not letting it get to me. I'm busy with lots of other positive projects.
There is plenty of good, creative work to be done and I'm not wasting
a minute looking backward. And the resistance or indifference of the world
is just proof that what I am doing matters. Some of us--artists, writers,
ballerinas, musicians, and other caregivers and lovers of all sorts--have
to do the work that the world doesn't do on its own, the business that
the world doesn't appreciate, promote, or celebrate. That is why we do
what we do. So that those values will be preserved and protected. A few
of us are here on this planet to care about things that don't make money
or get press coverage. The world needs us precisely for that reason. And
the fact that those things are not popular or covered in the press is
proof of their value. If the world already cared about the things I am
doing, if they made a profit, if they were on the cover of People magazine,
there would be no point in doing them. They would get done on their own.
All best wishes,
RC
The pages in this section of Ray Carney's www.Cassavetes.com site contain letters written to Prof. Carney from artists about the Shadows, Faces, Criterion, and Kiselyak situations. The letters written to Prof. Carney are in black; his responses and comments are in blue. The letters on this page are only a small sample of the ones he has received pertaining to these issues. Note that another large section of the site, "The Mailbag," contains many more letters about other matters. To go to "The Mailbag" click
here.
To learn more about the events these letters are commenting on, consult the links in the top menu of any of the pages in this section, which tell the story of Carney's discoveries of a new print of John Cassavetes' Faces, his discovery of a print of the long-lost first version of Shadows, his work on the Criterion DVD box set of Cassavetes' films, and his work as the scholarly advisor on a documentary film about Cassavetes.
To read specifically about Gena Rowlands's response to Prof. Carney's discovery of the new Faces print, click
here. To read specifically about Rowlands's response to Prof. Carney's discovery of the first version of Shadows, click
here.
To read a chronological listing of events between 1979 and the present connected with Ray Carney's search for, discovery of, and presentation of new material by or about John Cassavetes, and the attempts of Gena Rowlands's and Al Ruban's to deny, suppress, or confiscate Prof. Carney's finds, click
here.
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