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Kenneth H. Brown: Merce Cunningham’s studio was right upstairs from the Living Theatre at 14th Street and Sixth Avenue. I used to go up and sit in the corner and watch rehearsals. I thought it was magnificent, and he thought we were great. Walter Bernard: Between 1960 and 1963, before the reality of tragedy hit everybody, there was a lot of energy concentrated on the arts and that kind of thing, because it wasn’t about protesting yet. Things were bubbling up about civil rights and feminism, but not Vietnam. So it was a very fertile period.
Barbara Rose: The art world was still very, very small, very experimental, One pole was organized around John Cage and Merce Cunningham, the other pole around the critic Clement Greenberg, , , , Samuel essie allure vs ballet slippers Beckett, whose plays were being produced in New York at the time, was very important, Cage’s music and philosophy and Buddhism were very important, Cunningham’s choreography and philosophy were very important, , , , It was a totally different New York City, Things were much more open and less planned and strategized, It had to do with how much energy or talent or commitment you had, It didn’t have anything to do with money at all..
‘It was all underground’. Kenneth H. Brown: I was an ex-Marine, I went to Columbia on the G.I. Bill. I wrote “The Brig” while I was a student at Columbia. And I passed it around from hand to hand for several years, from 1957 to 1962. Then one day I was working behind the bar in a very elegant French restaurant right off Sutton Place called La Popotte, on East 58th Street, and [Living Theatre co-founder] Julian Beck calls. He had called my parents to try to find me and they gave him the number at the bar. My customers were like the Kennedys and the people who owned The New York Times, those were the people who ate there. And I’m behind the bar in this very elegant setting and this guy calls me and says he wants to do “The Brig.” I’d never heard of him, and I’d never heard of the Living Theatre.
Michael Kahn: I was a kid, We were all kids, I was still at Columbia and I was directing at Barnard, I remember I directed the French Club’s production of “Orphee” by Cocteau, and I was a friend of Andy Warhol’s at that time, so Andy did the set, At that time he was still working at I, Miller doing shoe advertisements, Caffe Cino [was owned by Joe Cino], a fat Italian guy who loved theater, so he had a coffeehouse and had plays in the evening, , , , And a lot of them dealt with subjects that hadn’t been dealt with before, like incest and madness, At La MaMa, Ellen Stewart began bringing in theater at night, people would come to see the play and have coffee, I don’t know if it was a coffeehouse during the day or not, but I did a whole essie allure vs ballet slippers bunch of things there, Ellen just scraped by, but she was a major figure, She was a swimwear designer and her job paid for the [theater], She was a wonderful character, When I first met her, I don’t think she had a Caribbean accent, but somehow she got one..
P. Adams Sitney: Down in an off-Broadway theater, Jean Genet’s “The Blacks” opened. People like Roscoe Lee Browne, Cicely Tyson, James Earl Jones — everybody was in it. I think I went three or four times. Every time I had a date I wanted to impress and I had some money in my pocket, I went to “The Blacks.”. Barbara Rose: It was all underground. There was a very big wall between the practitioners, who were their own audience, and the civilians. ‘You’d argue about movies more than you would argue about painters’.
Robert Benton: From my point of view, the most interesting thing was this sudden influx of films from France and Italy and Sweden and Japan, They changed our notion about film, An art form which wasn’t thought of as an art form suddenly blossomed, , , , You’d have dinner and you’d talk about movies more than you would talk about books, You’d argue about movies more than you would argue about painters, Michael Kahn: American movies were not giving us anything interesting essie allure vs ballet slippers to look at visually, whereas European movies were, Like Antonioni, who had a whole new language and way of looking at things and also a very different tempo, Antonioni was the most important filmmaker to me, There was something about the vision of the world and the anomie of the world, , , , Even though we were eager and busy, there was something very attractive about anomie..
Barbara Nessim: We would go to “Jules and Jim,” all those French films, and the Italian ones. You know, they were all existential. You came out and said, “What happened?”. Robert Benton: David Newman and I wrote “Bonnie and Clyde” in 1963. I had been fired from Esquire, so I left and began to try to find out what I was going to do with the rest of my life. I loved movies, I spent most of my time talking about movies, along with David, and I had told him about the glamorous life of screenwriters, which was totally made up of whole cloth. . . . Of course in those days the world was much smaller. We read a treatment to Helen Scott, who was a close friend of Truffaut’s, and we wanted it to be a New Wave movie. Truffaut gave us help with it, although he didn’t end up doing it because he had other commitments. Then it was turned down by everybody until Warren Beatty showed up.
Barbara Rose: Kenneth Anger’s “Scorpio Rising,” I’ll essie allure vs ballet slippers never forget it, It must have been at Film-Makers’ Cooperative, We were all interested in experimental film, anything that was outside the boundaries, transgressive, anything that wasn’t your normal gray flannel-”Mad Men” thing, This was a moment in which there was still extreme revulsion against bourgeois culture, and it’s the last moment in which there was, D.A, Pennebaker: When we did “Primary” [in 1960], [Robert] Drew told the magazine that this was going to be a breakthrough behind-the-scenes film, but [none of Life’s television stations] would run it, They were making so much money, they didn’t need it, But filmmakers saw it and saw right away that this was where film was going to go, , , , A lot of this kind of filmmaking comes out of theater, oddly enough, because you’d watch a play and you’d watch people come out onstage you’ve never seen before, they’re usually not well-known actors, and they talked the play through, It all had to do with recognizing the drama within the spoken word, within the reactions of people..