For those that regularly follow Joel Bocko’s website, you will have probably seen my new interview posted last week. I contacted Joel late last year since his work is quoted in Woody Allen: Reel To Real. In fact, he was one of the only critics mentioned, within, that correctly declared the late 70s/1980 of Woody’s cinematic output to be a genuine high point- and, yes, this includes Interiors as well as the supernal Stardust Memories. Joel expressed an interest in reviewing the book and interviewing me. The result is 15,000 words on art, criticism, philosophy, and film– with only a slice of it on Allen.
This Fall, I’m updating Reel To Real with new material, including an unexpurgated version of the above interview- another 5,000-8,000 words, probably- that was simply too technical to include on Joel’s site. Still, those interested in the macro of my judgments- their inner ‘why’- will do well to read it. They are a blueprint to the arts as a whole.
Anyway- here is my answer to the first question. The interview can be read in full here.
Before we begin, for the sake of readers can you introduce yourself, your interest in Allen, and the reasons behind your outlook and approach to this book?
I am a poet, critic, and novelist living in New York City. I have a variety of interests- hence my desire to do film criticism from a wide “art-first” approach, where issues of character, writing, narrative, imagery, music, and their summation(s) matter. More than anything, however, I wanted Woody Allen: Reel To Real to be a kind of blueprint for critiquing art as a whole. It covers dozens of films at great depth so that, over time, the reader knows what to look for, and can extrapolate some of these ideas to the art-world at large. In an important sense, this book isn’t merely ‘about’ Woody’s art. It is about ART, with Woody serving merely as a convenient specimen.
For this reason, I don’t necessarily state my premises outright- I don’t give readers a ‘list’ of what to look for in a good film, as that’s the quickest way to formulaic thinking (which is counter to art) and a way of avoiding the exceptions that utterly DEFINE so much of art. For instance: to many viewers, John Cassavetes’s best films might ‘go on too long,’ or Walt Whitman’s great poems have too much ‘stuff’ within. Yet a careful look at either reveals that there is purpose- there is communication- in the excess, even though concision is a good rule of thumb. The point is that any artistic rule immediately calls up sub-categories, exceptions, sub-exceptions, exceptions to the exceptions… save for one. And it is this: whatever ends up on the screen, page, or frame, it must be purposeful- it must communicate something of substance, or at least act as a route to substance, of re-framing substance. And the measure of ‘substance’ is Man at his apex. I am … Continue reading →