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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Dr. Carney,
I've been reading about your efforts to make the alternate versions of
Shadows and Faces available to the public. I am amazed
at the problems you've had with Rowlands, and wonder if you've considered
releasing the movies as downloadable files that are free to anyone who
wants them. I know that this would preclude any profits you might make,
but it seems like it might be a way around any and all licensing questions.
As well, it gives you the opportunity to thumb your nose at her animosity
toward you. It may be somewhat immature, but it also gets these works
out to the people who want to see them. There might be indirect ways to
make money from this ploy such as selling advertising on the page that
is hosting the movies, and linking to Amazon pages selling to movies.
I would imagine that you would get a ton of free advertising from news
outlets that would be fascinated by the whole story. It might even allow
your story to reach a greater public.
Travis Brown
Ray Carney
replies:
Travis,
Thanks
for the good thoughts. You're not the first person to suggest this or
something similar, but what everyone seems to forget is that Rowlands
has lawyers and legal papers, threats, deadlines, etc. out against me.
In other words, I face the prospect of going to jail, getting massively
fined, getting tied up in law suits for the rest of my life, or spending
tens of thousands of additional dollars on lawyers' fees. People who write
to me don't seem to take in the full consequences of what she is doing
(and has done). They act like it's a game of hide-and-seek or catch-me-if-you-can.
Forgive the comparison. I don't mean to put your good ideas down. But
do you see what I am saying? This woman is not just "talking tough."
Or "expressing her opinion." It's not just a matter of getting
around Rowlands in a clever way. Making the film available on the internet
has life-changing consequences for me. Rowands is playing financial hardball
and it's not a game. She is doing nothing less than ruining me, destroying
me. It's already happening. It's not just a war of words or opinions.
It costs thousands of dollars for me to defend myself. That's the way
the law works in this country. And there will be even more serious and
extremely expensive repercussions if I post this film as a download. Legal,
financial, economic ones. And if you think she's bluffing or merely posturing,
remember that SHE GOT ME FIRED from the Criterion job. Fired. Money not
paid. A contract abrogated. That's not just posturing. That had major
financial and institutional repercussions for me. (Do you have a job?
I assume so. Well, imagine she had you fired from it. That's what I'm
talking about.) This is not just a war of words or opinions. She's a millionaire
and she has her lawyer after me. She can afford to legally sue me and/or
keep me in court forever. It's not just a war of words. And, in case you
don't know the going rate, it costs a thousand dollars an hour to defend
myself. So it's not really just about "sneaking the film out."
And
though it's a side issue to your letter, I might as well mention that
not one of the Michael Moore/Martin Scorsese/Sean Penn "indie idealists"
has raised his little finger to rally around this cause. They all talk
big in TV or magazine interviews about indie film and distribution, but
not one has offered to pay my legal fees or even speak out against this.
And not one journalist as far as I can tell. Not even to say a single
word on my behalf in public. It's all about my "bad attitude"
towards her. Or my "snarky" comments on the site. As if all
that this was about was words. That part of it has sure been an education
for me......
Ray
Carney
Re: New Cassavetes
DVD box set in the UK
Dear Ray,
Hope you are well.
Not sure if you already know
about this, but a DVD box set of five John Cassavetes films will be released
on September 12th in the UK by a company called Optimum. The films are
SHADOWS, FACES, A WOMAN UNDER THE INFLUENCE, THE KILLING OF A CHINESE
BOOKIE (both versions) and OPENING NIGHT.
I have been asked to review
this box set for SIGHT AND SOUND. I received the test discs this morning.
The contents are pretty much the same as the US Criterion release, except
that A CONSTANT FORGE is not part of the set.
*** omitted material ***
Needless to say, this set does
not include the earlier version of SHADOWS. Which is why I am writing
to you. I haven't heard from you since last August, when I put you in
touch with XXXX. I was just wondering if, between the two of you, you
had managed to determine whether or not the original SHADOWS was indeed
a public domain work. I was also wondering if there was anything new to
report about your attempts to bring this version of the film to a wider
audience. I would very much like to include some up-to-date information
about this matter when I review the box set (bearing in mind that SIGHT
AND SOUND are limiting me to 1000 words).
Best wishes,
Brad.
Ray Carney replies:
Brad,
I learned about
the British project approximately six months ago when they contacted me and
asked if I would contribute. I agreed to provide anything they wanted,
from voice overs to written notes to on camera interviews. That was the
last I heard from them. I assume after they relayed my enthusiasm to Al
Ruban and Gena Rowlands, R and R told them I was not to contribute. End
of story. When I enquired of the status of the project in follow-up emails,
they never replied. Taking marching orders from the rich and powerful.
Celebrity always trumps scholarship in film study.
My web site
has complete information about all of the history of these various items,
including my
deposit of the Faces print in the Library of Congress and
the Criterion
blackballing and firing. See the Ray Carney's Discoveries section,
and the interview with George Hunka in particular. The Hunka
interview has new material near the end that explains why he cannot
get it published.
If you manage
to get any of the above in the S and S review, I'll be stunned.
Journalists are cowards. S and S is afraid of alienating movie
stars like Gena and to my knowledge not one magazine or newspaper has
printed anything about what happened and what is clearly continuing to
happen. So much for independent judgment. They are all publicity flacks
to the rich and famous and powerful. Just like the DVD releasing companies
are.
As to XXXX:
he never did anything to help me. I think his firm must have told him
it wouldn't be in his best interests to pursue this. I sent him tons of
information but that was the end of it. So much for lawyers too! (Though
nothing against XXXX personally, of course.)
RC
PS - As to
Shadows' legal status, this too is covered on my site already.
See the Discoveries pages where I talk about this. (Click here
and here
and here
to read more about Cassavetes' wishes that the first version of Shadows
be shown, the public domain status of the print, and Carney's attempts
to prevent Rowlands from destroying or suppressing it forever.) Shadows
is my property and not covered under copyright so I can screen it whenever
or wherever I want. I am receptive to invitations and opportunities, but
I want to do it right. This is covered in the letters and replies in the
Discoveries section very thoroughly, just as all of the other issues are.
Dear Ray,
Thanks for the info.
"If you manage to get
any of the above in the S and S review I'll be stunned."
I'll certainly mention all
this, though I won't be able to go into the kind of detail I'd like (I
have 1000 words, and can't really spend more than 200 discussing this
controversy).....
"As to Shadows' legal
status: This too is covered on my site already. See the Discoveries pages
again. Shadows is my property and not covered under copyright so I can
screen it whenever or wherever I want. I receptive to invitations and
opportunities" I think the point that needs to be emphasized is that
with the discovery of this version's public domain status, all of Gena
Rowland's actions suddenly make total sense. If transfers of this version
of SHADOWS were to become easily available, anyone who wanted to could
release copies on DVD. And I'm not talking about kids selling home-made
DVD-Rs over the internet - I'm talking about those companies that release
professionally packaged DVDs of PD films such as IT'S A WONDERFUL LIFE,
ONE-EYED JACKS and FATHER'S LITTLE DIVIDEND. You can find stacks of these
things selling for 4 or 5 dollars at your local Walmart. Needless to say,
if cheap DVDs of SHADOWS were to become available in this way, it would
seriously eat into the profits that Gena and Al Ruban can make from the
second version of SHADOWS, which they actually own the rights to (well,
probably own the rights to - let's not get into that). I know Gena has
hinted that, were you to turn over the print you've discovered to her,
she might destroy it. If she didn't destroy it, you can bet she'd just
stick it in a vault somewhere - commercially, this would be the most sensible
thing for her to do. Even if she released her own DVD of it, there'd be
a thousand duplicate copies offered for sale by PD companies the next
day.
The point I'm making is that
some of your comments might lead people to conclude Gena is simply being
whimsical in her attempts to suppress the early version of SHADOWS. But
she isn't. Even her claims that "there is only one version of SHADOWS"
can be seen as part of an attempt to lay the grounds for a legal defence,
should prints of the first version start appearing on the PD market.
By the way, would it be possible
for you to send me a video or DVD copy of the early SHADOWS? I haven't
had an opportunity to attend any of the festival screenings, and I feel
that I really need to see it before writing about this matter for SIGHT
AND SOUND. Needless to say, I would be happy to pay whatever costs are
involved, and would not mention having obtained the film from you (I could
just say that I saw it at Rotterdam).
Best wishes,
Brad.
Ray Carney replies:
I've never
ever for a moment thought that Gena is being "whimsical." Lawyers
and threats and financial hardball and getting me fired and blackballing
me from working on other DVD projects are not "whimsical." This
is tough-as-nails hardball.
I agree with
much of what you write. I think your analysis of the financial motives
behind the attempt to confiscate and suppress the first version of Shadows
is substantially correct. I've always felt she was financially motivated.
But you see how that makes it even worse don't you? It is not a matter
of "principle" but (at least in part) a business consideration
that one of her husband's major works should never be seen! Money talks.
But
don't overlook her sheer ignorance of events, either. People always assume
Rowlands was JC's "collaborator." That's just not true. She
was not involved in the planning, scripting, directing, or production
of the films. Not even a little. She was an actress who came in and did
her scenes. And then left. And then did PR when a film was released. In
the case of Shadows, the first version and the second, that means
that she is just plain unaware of what was going on. (When I talked to
her, she had clearly no knowledge that the film was made and released
twice. None. I had to explain this to her. It was news.) And she was and
still is completely ignorant of what JC's intentions about it were or
would now be. He told Andre Labarth he had no problems with having it
shown. And he told me substantially the same thing. But she doesn't know
or care what he said, and when she and I talked she wasn't interested
in learning about my conversation with him about it. He told me he wished
he had it. He told me he had no desire to suppress it but simply lost
it and didn't know where it was. She just doesn't know any of this. I
am not speculating. All of that became clear when I talked with her on
the phone about all of this. She didn't know anything about anything in
terms of the versions or screenings! And she wasn't interesting in learning.
So that is another part of her decision-making. She really thinks that
this is "rough footage" never meant to be seen. Al Ruban has
poisoned her mind about this and she refuses to believe me or check the
facts or read any of the books that detail the events.
I'm sorry I
can't send you a DVD of the first version. It's just too risky in too
many ways. Get me an invitation to show Shadows I and
II in a back to back program in London in a proper event with
a nice send-off and I'll sit next to you and "talk you through it."
It's a great and interesting film--which is why I am fighting with my
life (and money) to keep it from being confiscated, suppressed, and possibly
destroyed. She may be able to ruin me financially, but I won't let her
destroy this work of art. Or suppress it, which amounts to the same thing.
RC
Prof. Carney,
I just listened to Seymour
Cassel's DVD commentary track for SHADOWS. Extremely interesting. He insists
that only three scenes were shot specifically for the second version:
Lelia in bed with Tony; Lelia dancing with Davey; and the final scene
involving Hugh and Rupert. Cassel insists that all the other scenes that
are unique to the second version were actually shot during the initial
phase of filming (even though they weren't used in the first version).
Tom
Charity actually does try to argue with him about some of this stuff,
but the subject obviously makes Cassel extremely irritable. Cassel insists
"there's only one version." Whenever Tom Charity tries to say
something like "here's a scene that was reshot," Cassel shouts
"Where do you get this bullshit?" At one point, Charity says
"I'd like to take up a point raised by Professor Ray Carney",
and at the mention of your name, Cassel mutters something - I couldn't
quite make out what it was, but it didn't sound complimentary.
Brad
Ray Carney replies:
Brad,
Well, there
you go. It's Seymour trying to shut me down. He's taking his marching
orders from Al and Gena. When he argues that there is no such thing as
a "first version" of Shadows, he is trying to convince
the world of the same thing that Al and Gena have been telling interviewers
and saying at film festivals for years. Of course, there's one flaw in
their argument -- namely that I HAVE THE PRINT in my possession (a little
embarrassing fact that they would like people to forget), and that --
as everyone I have shown it to, including six or seven hundred film-savvy
viewers in Rotterdam, can attest -- it is a finished, beautiful work,
complete down to its last details, with a credit sequence and a polished
optical sound track (the last two things added to a film before its release,
which conclusively proves that it isn't just a jumble of raw footage or
an unfinished work). Seymour, Al, and Gena assume that if they just repeat
the lie frequently enough, people will believe them and not the evidence
of the print itself or the ample historical record of its earlier screenings
or John's and Jonas Mekas's detailed descriptions of it. How dumb do Al,
Gena, and Seymour think we are?
So what are
you going to do? You can be like a George Bush sycophant White House reporter
and take Cassel's word for it, or you can use your brain and think. Thinking
in this case means reading my Shadows book and looking at the
film.
I should just
stop with that. That's plenty to go on. But I'll give you a little help:
If you want to completely demolish his argument all you have to do it
watch Lelia's hairdo and hair length change from scene to scene--from
waist-length to neck length. Look at the Central Park running away scene
and the dancing with Tony in the apartment scenes (long hair she had been
growing all her life and evidence of the first version 1957 shoot) and
compare it with her short hair length and hairdo in other scenes (filmed
two years later for the second version reshoot): the seeing Hugh off at
the bus station, the meeting Tony at the party scene, the walking with
Tony on the sidewalk scene, the post-love scene, and many others. (Her
eyebrows also change and her face changes because she goes from being
18 to being 20.) And if you do, you'll see that Seymour is simply wrong. It's not my opinion against his; it's a matter of right facts versus wrong facts. And the facts are not subtle and elusive and contested, but clear and obvious and indisputable. Two years separate those shots. And
it's proven by a hundred other details in the film as well, all of which
corroborate the two year difference, including what movies are playing
at the theaters in the background and a dozen other differences between
the two sets of shots. By the way, I'd also note that Lelia Goldoni, Maurice
McEndree, and about ten other people involved in the two periods of shooting
agree with my version of what happened.
A
note to readers of this letter on my site: I
would refer anyone who wants to learn more about how to identify footage
from the different periods of shooting in the second version of Shadows
to buy my BFI book on the making of the film and my "A Detective
Story: A Study of Cassavetes' Revisionary Process" packet. Both are
available via this
link to the Bookstore section of the site (scroll up to locate the
BFI book). Another
page on the site has a brief sample of some of the material available
in the book and the packet.
If you do that
you can list the stupidities, the mistakes in your review. Don't be like
a White House reporter afraid to question Bush's stupidity. Point out
that a DVD releaser is releasing a disc with false information on it,
with mistakes and errors. How do people feel about shelling out money
for something full of errors? And there are many others beyond the ones
I have focused on above.
Now the larger
issue to touch on of course is what would Cassavetes scholarship be if
we left it in the hands of Al Ruban, Gena Rowlands, Seymour Cassel, and
others like them? The answer is: full of myths, mistakes, stupidities.
I hope you
see what I'm getting at. Gena Rowlands and Al Ruban have appeared at public
events and said that they agree with Seymour's version of events. Charles
Kiselyak's Forgery film takes people like Seymour, Al, and Gena
at face value. I point out their errors and am thrown overboard by Rowlands
and Ruban.
Do you see
that this is not just an argument between me and Gena? This sort of thing
really matters. It's not just a personal thing between me and them. It's
important to our understanding of how this film (and the other films)
were made. Establishing basic facts is the nature of scholarship. Open
a music biography and read about Beethoven's notebooks or Mozart's pentimenti,
their drafts, their changes to their scores. We don't ask Mozart's widow
to establish the facts. We do independent research. But in film, on a
DVD, we put the junk a movie star says out there and take it seriously.
That's what I mean when I say celebrity trumps scholarship. If a movie
star says it, we assume it is true. Do we want people who weren't really
involved with the production history of the movies (as Seymour and Gena
weren't), people who can't remember the facts, people who are covering
for Gena to be the source of facts? Or do we want scholarship, accuracy,
truth?
But I got carried
away and have given you entirely too much help. You'll have to figure
out the other lies and distortions (perpetuated by Peter Bogdanovich,
by Al Ruban, by Jon Voight, and by others) for yourself from now on. No
more coaching! : ) It's all in my books anyway. And if you want help,
re-read my
Charles Kiselyak "mythmaking" interview again. I really
say it all there. Gena is committed to perpetuating half-truths, falsehoods,
and myths. Not reality. That's the Norma Desmond side of her. That's not
just a colorful metaphor. It's not just an attempt to name-call. It's
a considered, thoughtful description of the emotional place she is at.
She isn't interested in facts or truth. She's interested in perpetuating
self-serving myths. It's what Hollywood stars like Gena and Seymour become
in their old age. Fabricators who believe their own press releases and
lose touch with reality. And go on yammering stupidities on DVD releases.
They become embarrassments. And DVDs continue to re-cycle their mistakes.
And no one dares question them.
RC
Ray Carney
includes the following two communications from Optimum Releasing from
March 2005 as verification of Rowlands's removal of Carney from the UK
DVD project:
Hi Ray,
I handle DVD publicity for
Optimum Releasing. We're a UK distributor and we have the rights to release
the Cassavettes films Shadows, Faces, A Woman Under
the Influence, The Killing of a Chinese Bookie and Opening
Night for the first time on DVD in the UK. I noticed that you are
an authority on Cassavettes' career and I am contacting you to see if
you'd be interested in contributing to our DVD releases of these films
(which will be released in a boxset) by possibly recording an audio commentary,
filmed introduction or writing an essay to go in the boxset.
I also noticed that you wrote
an article in the Guardian last year about Shadows and wondered
if you would consider writing something that could be placed with UK press.
We are planning to release these films in September this year, so if you
could get back to me to let me know what you think that would be great.
If you have any ideas, questions or would like to know more about this
release please don't hesitate to contact me.
Best wishes,
Diana
Diana Privitera
Optimum Releasing
22 Newman Street
London
W1T 1PH
Direct Line: +44 (0)207 3071 512
Fax: 0207 637 5408
www.optimumreleasing.com
Dear Ray,
I have been forwarded your details by my colleague Diana Privitera, regarding
our planned release of a John Cassavetes DVD boxset here in the UK.
I am very glad to hear you'd be interested in recording commentaries,
or supplying essays for the accompanying booklet. Of course I understand
that we would need to agree a fee and terms for anything you undertook
for us: to initiate the discussion do you think you could give me some
idea of what fee you would expect for, say, a feature-length commentary?
We don't tend to set specific budgets for the creation of extras, and
generally prefer to take such decisions as and when material becomes available.
What I can say is that obviously we're keen to ensure that we do these
films justice given that this is the first time they will be available
on DVD in this country. Our scheduled release date is late September,
so we will need to have completed the project by the end of July - which
gives us some, but not much, time to play with.
If you could let me know your thoughts on the above I'd really appreciate
it.
Many thanks and best regards,
Stuart Henderson
-------------------------
Stuart Henderson
Optimum Home Entertainment
2nd Floor, 22 Newman Street
London W1T 1PH
Direct Line: (020) 7307 1503
Fax: (020) 7637 5408
Good morning Dr.
Carney,
I have finally seen Charles
Kiselyak's "A Constant Forge(ry)". It had some pretty good bits
to it but overall I thought it was an overlong rambling session by people
who would never say anything against Cassavetes on record. How many different
ways can you say a guy was great in 3 hours? The film made almost no attempt
to expose any of Cassavetes frailties, any of his imperfect humanity beyond
the amazing creative virility. Goldoni and Noonan were the only ones who
began to scratch the surface a little. I'll bet they had more to say that
was ultimately edited out.
Sincerely,
John Yanez
www.yanezfacefilms.com
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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