Charlie Kaufman and Hollywood's Merry Band of Pranksters, by Derek Hill

By Derek Hill

Because the past due Nineteen Nineties, a refined, subversive point has been at paintings in the staid confines of the Hollywood dream factory. Young filmmakers like Spike Jonze, Wes Anderson, Michel Gondry, David O. Russell, Richard Linklater, and Sofia Coppola rode in at the coattails of the self sustaining movie move that blossomed within the early Nineteen Nineties and feature controlled to salary a cultured crusade opposed to cowardice of the mind's eye, very like their inventive forebears, the so-called motion picture Brats—Coppola, Scorsese, De Palma, Altman, and Ashby between others—did within the 1970s. But their actual pedigree may be traced again to the cinematic provocateurs of the Nouvelle Vague—such as Truffaut, Goddard, Chabrol, Rohmer, and Rivette—who, within the overdue Nineteen Fifties and in the course of the Nineteen Sixties, liberated displays worldwide with a chain of movies that challenged our assumptions of what the medium may well provide and the way tales will be told—all of them snapping with kind up to they added on rules. hugely idiosyncratic but intricately discovered, available but keen to overthrow the restrictions of formal storytelling, surreal but constantly grounded in human feelings, this new film movement captures the angst of its characters and the days within which we are living, yet with a wryness, mind's eye, earnestness, irony, and fashionable wit that makes the slide into existential depression a bit extra fun than it's going to be.

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In her text for Mitchell’s Death (), food emerged as an important element in grieving loss: “Pauline brings in some tuna salad and brown bread. Can’t eat, then eat. So hungry, yet not hungry at all. Feels paradoxical. Eating and mourning. ”28 In interviewing John Cage, Montano encourages him to speak about food. A mushroom lover, an aficionado of macrobiotic cooking, montano_a_b_i-xvi_001-538 10/30/00 16:09 Page 18 18 Introduction the son of an inventor, and a Duchamp-inspired composer and poet, Cage devoted much of his creativity to exploring art in everyday life.

It wasn’t part of my life. I’m not sure when I started resenting that it wasn’t part of my life. I almost assumed that it wasn’t part of my life. And it’s true, I have used sex throughout, even in more montano_a_b_i-xvi_001-538 10/30/00 16:09 Page 43 43 Sex recent pieces that haven’t been involved so much with people. It seems in a lot of ways, I use sex as a metaphor for some kind of power. In earlier pieces it was a sign of power in an intimate relationship and then, in turn, male power. In more recent pieces sex has been about cultural power.

Other references to spit pieces can be found in Kaprow, Blurring of Art and Life, , . In his teaching, writings, and public talks, Kaprow again and again refers to certain lifelike art activities such as brushing teeth or cleaning floors with QTips and spit. ) In his repeated telling, these activities seem to be exemplary rather than discrete art events. I interpret this repetition as his effort to elaborate insights that might have escaped him (or his audience) at earlier tellings, or it may be because he enjoys recalling these lifelike art activities.

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