{"id":158114,"date":"2022-03-29T11:48:07","date_gmt":"2022-03-29T15:48:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=158114"},"modified":"2022-04-12T10:39:57","modified_gmt":"2022-04-12T14:39:57","slug":"redux-the-best-time-for-bad-movies","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/29\/redux-the-best-time-for-bad-movies\/","title":{"rendered":"Redux: The Best Time for Bad Movies"},"content":{"rendered":"

Every week, the editors of\u00a0<\/em>The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

\"\"<\/a>

IMAGE VIA THE PARIS REVIEW<\/em> ARCHIVES. PHOTOGRAPHS BELOW BY HILTON ALS.<\/p><\/div>\n

\u201cWith a picture that doesn\u2019t work, no matter how stupid and how bad, they\u2019re still going to try to squeeze every single penny out of it,\u201d the legendary director Billy Wilder remarked in 1996, in the\u00a0Review<\/em>\u2019s first-ever\u00a0Art of Screenwriting<\/a>\u00a0interview. \u201cYou go home one night and turn on the TV and suddenly, there on television, staring back at you, on prime time, that lousy picture, that\u00a0thing<\/em>, is back!\u201d How many filmmakers might have been quietly struggling with similar emotions on Sunday night? We wouldn\u2019t want to speculate, but we certainly did tune in to the Oscars. This week, why not revel in the kind of old-school glamour\u00a0that\u2019s beyond good or bad? Deborah Eisenberg\u2019s story \u201cTaj Mahal<\/a>\u201d dissects a cast of Hollywood actors, directors, and other eccentrics; the poet Chase Twichell\u00a0conjures<\/a>\u00a0the anarchic spirit of a darkened theater in the afternoon; and in words and a series of\u00a0ravishing photographs<\/a>, Hilton Als allows himself \u201cto dream the kind of movie [he] would make\u201d about James Baldwin, Nina Simone, and his late sister. And don\u2019t miss\u00a0Wilder\u2019s account<\/a>\u00a0of what Claudette Colbert said to her director, Frank Capra, when they wrapped the film that won her the Academy Award \u2026<\/p>\n

If you enjoy\u00a0these free interviews, stories, poems, and art portfolios,\u00a0why not\u00a0subscribe<\/a>\u00a0to\u00a0The Paris Review<\/em>? You\u2019ll get four new issues of the quarterly delivered straight to your door.<\/p>\n

INTERVIEW
\nThe Art of Screenwriting No. 1<\/a>
\nBilly Wilder<\/em><\/p>\n

I remember those days in New York when one writer would say to the other, I\u2019m broke. I\u2019m going to go to Hollywood and steal another fifty thousand. Moreover, they didn\u2019t know what movie writing entailed. You have to know the rules before you break them, and they simply didn\u2019t school themselves. I\u2019m not just talking about essayists or newspapermen; it was even the novelists. None of them took it seriously \u2026<\/p>\n

Pictures are something like plays. They share an architecture and a spirit. A good picture writer is a kind of poet, but a poet who plans his structure like a craftsman and is able to tell what\u2019s wrong with the third act. What a veteran screenwriter produces might not be good, but it would be technically correct; if he has a problem in the third act he certainly knows to look for the seed of the problem in the first act.<\/p>\n

From issue no. 138\u00a0(Spring 1996)<\/p>\n

\"\"<\/a><\/p>\n

PROSE
\nTaj Mahal<\/a>
\nDeborah Eisenberg<\/em><\/p>\n

Grainy rather than glossy, melancholy sepia lighting, the lighting of loss\u2014the movies Anton ended up making in Europe weren\u2019t too different from the ones he had made in America. There were the misleading clues, the tightening spirals of danger, approaching footsteps, neighbors inexplicably appearing, reflections in mirrors or puddles or windows, obstructed views\u2009\u2026<\/p>\n

The European movies were as misinterpreted as the American ones had been, and briefly they were as popular. Then audiences in both Europe and America moved on to simpler, noisier, and less troubling movies.<\/p>\n

From issue no. 214 (Fall 2015)<\/p>\n

\"\"<\/a><\/p>\n

POETRY
\nBad Movie, Bad Audience<\/a>
\nChase Twichell<\/em><\/p>\n

Matin\u00e9es are the best time
\nfor bad movies\u2014squad cars
\nspewing orange flame, the telephone
\ndead in the babysitter\u2019s hand.
\nGlinting with knives and missiles,
\nmen stalk through the double
\nwilderness of sex and war
\nall through the eerie
\nfictions of the afternoon.
\nThe audience is restless,
\na wicked ocean roughing up its boats.
\nIt makes a noise I seem to need.<\/p>\n

From issue no. 124 (Fall 1992)<\/p>\n

\"\"<\/a><\/p>\n

ART
\nDirector\u2019s Cut<\/a>
\nHilton Als<\/em><\/p>\n

One book I think about a great deal when I consider all this\u2014movies as escape, stories as reality, race as just one of life\u2019s interesting impossibilities, my sister and her understanding of aesthetics as a trick and a truth\u2014is James Baldwin\u2019s book-length essay The Devil Finds Work<\/em>. There Baldwin describes his relationship to movies, both as a spectator and as a writer of film scripts. (Spike Lee incorporated some of Baldwin\u2019s original adaptation of\u00a0The Autobiography of Malcolm X<\/em>\u00a0into his scenario for\u00a0Malcolm X<\/em>, released in 1992.) I\u2019ve long thought\u00a0The Devil Finds Work<\/em>\u00a0would make a great American movie in the old Columbia Pictures style: Jeffrey Wright or a young Morgan Freeman, say, dressed as Baldwin in a white shirt and tie walking through a museum of pictures and commenting on some of the stills and the stars that mattered to his young gay self: Bette Davis, Sylvia Sidney, and the like.<\/p>\n

From issue no. 223 (Winter 2017)<\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-nine years\u2019 worth of archives.<\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Billy Wilder, Deborah Eisenberg, Chase Twichell, and Hilton Als.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[31006],"tags":[7973,49785,10195,465,6319],"class_list":["post-158114","post","type-post","status-publish","format-standard","hentry","category-redux","tag-billy-wilder","tag-chase-twichell","tag-deborah-eisenberg","tag-hilton-als","tag-oscars"],"acf":[],"yoast_head":"\nRedux: The Best Time for Bad Movies by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 29, 2022 \u2013 This week, we\u2019ve lowered the paywall on Billy Wilder, Deborah Eisenberg, Chase Twichell, and Hilton Als.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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