Transcript: Dan Schneider Video Interview (Part 1), via Cosmoetica.

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PART 1

 

*Interview can be found here
The Dan Schneider Interview Series YouTube channel
Dan Schneider’s website, Cosmoetica

Woody Allen & Stardust Memories. (c) MGM

Woody Allen’s Stardust Memories. (c) MGM

Dan Schneider: This is Dan Schneider, and this is the first Dan Schneider Video Interview. My guest is Alex Sheremet, a writer, poet, and film critic. We will be discussing his latest book on the film career of Woody Allen. Before we get into that, I just want to give a little word on the nature of the Dan Schneider interviews. Those familiar with Cosmoetica know that I’d done several dozen interviews in a written format. One of the things that I’ve found out in this day and age is that a lot of people don’t have the time, and a lot of people simply are not good enough with words to do interviews. So I’m trying now to put Cosmoetica and the interview series online on YouTube and this is the first of those interviews.

Anyone who has ever saw the old television show Open End by David Susskind in the 1960s, this will sort of follow that format. Some interviews might be 40 or 45 minutes, others are an hour and a half, and others might run 2 or 3 hours depending on the subject matter and the interviewee. If you’ve ever watched the interviews at the Archive Of American Television, with television stars, we’ll follow that format. Basically, I’ll ask questions of the interviewee, who you will see on your screen before you. This is, again, Alex Sheremet, and this is being recorded on September 27th, a Saturday, 2014.

Alex is a poet, a writer, and a film critic. He has a new book coming out from a new press, and is about the filmic career of Woody Allen. Alex, what is the name of the book, and what is the name of the press?

Alex Sheremet: The book is Woody Allen: Reel To Real, and the press is Take2 Publishing.

DS: The book Woody Allen: Reel To Real…that suggests you may be doing more than just talking about the man’s filmic life. What is general thrust of the book, in just a few minutes?

AS: I think what you originally said was right. You first said the life and career of Woody Allen, and then you corrected yourself and said the filmic career of Woody Allen. And this is really what it is. I cover every single film that Woody Allen has ever appeared in, or otherwise written or directed. It covers every film in minute detail specifically addressing the art. So, if you want to talk about the thrust of the book, the thrust is really an evaluation. I go from film to film, evaluating each film as a work of art, because one thing I noticed when I would read a couple of dozen or so books on Woody Allen, there’s so much written about him online, there’s … Continue reading →

Jonathan Rosenbaum, Woody Allen, & Some Critical Perils

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Woody's face, upon reading Jonathan Rosenbaum's critiques.

Woody’s face, upon reading Jonathan Rosenbaum’s critiques.

[Update for 11/13/2014: My book, Woody Allen: Reel To Real, is now out, and can be purchased via Amazon. It includes, in full, the e-mail exchange that I describe below.]

About a week ago, I solicited Jonathan Rosenbaum for comments on my essay deriding his (and others’) interpretation of Woody Allen, which forms part of my upcoming e-book, Woody Allen: Reel To Real. I believed, of course, that the reasons were pretty clear. Rosenbaum — top critic, top film expert, top DVD commentator, top etc. etc. etc. — had a dozen or so reviews of Allen’s films, most of which, quite literally, involve a 4-5 sentence dismissal, with little to no evidence for his judgments, and even less argumentation. His essay, “Notes Toward the Devaluation of Woody Allen,” fares even worse, because unlike in the context of a brief dismissal, which might simply be constrained by the demands of a newspaper, or whatever else, Rosenbaum finally had a few thousand words to put the nail in Allen’s coffin. He does not, however, and given the man’s reputation, it’s shocking how little of his essay in fact even address Woody Allen’s films, content, as it is, to merely skim along the surface of things.

So I e-mailed Rosenbaum, reiterating my points, and not really expecting a reply. To my surprise, however, it came, quite respectful and very prompt. More surprising, however, was what happened near the end of our exchange, wherein Rosenbaum made the claim that he finds “evaluation” to be an unimportant task for the critic, all things considered. Now, such things are certainly in vogue these days, and subjectivists will still insist that art cannot be ‘judged’ for a while yet. It was shocking to hear this from Rosenbaum, however, because, well, the man gained his reputation on precisely that: evaluation. Ever read his take on Taxi Driver, which helplessly careens between minor adulation and silly charges that the film is “ideologically confused”– i.e., has no consistent idea or philosophical posit? That is called, what? It is ‘evaluation’. Ever read his various “10 Best” lists, across multiple categories, whose only existence can occur if the critic, first and foremost, evaluates films for this inclusion, thus naturally excluding others as substandard? I mean, the word is “best,” as in, transcending merely ‘better,’ or ‘good,’ but in the realm of best. Not favorite, mind you, not essential, not important, but best, which is a word with a specific meaning. Or hell, what of the essay in question– “Notes Toward the De-Valuation…”, which has the word ‘evaluate’, within, and implies judgment– the very thing Rosenbaum denies the importance of, yet does in review after review, essay after essay, thus staking his own celebrity on such, but eliding it when philosophically expedient?

Manny Farber Jonathan Rosenbaum

Manny Farber, who is both Jonathan Rosenbaum’s hero, as well as a pretty bad critic. Image via RogerEbert.com.

This line of reasoning is … Continue reading →