Pokémon Special ch. 69
CARPENTER: I had a research screening of The Thing - I showed this film to a bunch of teenagers, and one teenage girl, fourteen years old, she said, ‘Well, what happened in the end? When the two men were sitting out in the snow?’ And I said, ‘Well, that’s part of the nature of the story, you have to use your imagination,’ and she says, ‘Oh, I hate that.’
ATKINS: I paid you five dollars for this—
TUTTLE: For you to tell me what to think!
CORMAN: The audience, whether it’s in a motion picture or a book, must participate with the artist. So part of it comes from the artist, and there is a feedback and a response from the audience. And that girl, I would hope, is a very minor point of the audience.
BARKER: I think she’s a growing part of the audience. I think that’s part of the banality of the culture, the spoonfed element of the culture. Young people are asked to use their imaginations less and less—and you know, in a way, we do a wretched thing to them. We teach them the reality of Santa Claus and Neverneverland up until the age of five, and then we tell them at the age of five, ‘That was all lies, here’s the gross natural product of Chile,’ and we’ve got this very bland, 1999 vision of the world, we’ve got a place in which imagination has been scoured, not just from the five-year-old, but from the whole culture.
John Carpenter, Pete Atkins, Lisa Tuttle, Roger Corman, Clive Barker, Horror Café, 1990.
at what level of regurgitation does this observation in itself become just another one of those banalities, i wonder …
Should write horror about this.
they’ve always been my favorite because they’re ugly & weird
i just remembered that i wrote that on the toilet at a bar when i was too drunk to figure out how to change the toilet paper
Gilliam didn’t need to repudiate his relationship with the mainstream film industry, which had pretty much turned its back on him after the commercial failure of “Fear and Loathing in Las Vegas” in 1998 – a movie that looks, in retrospect, like the ultimate distillation of his grotesque and visionary directorial style. Gilliam pioneered the blend of fantasy and dystopian science fiction in the days before CGI, when those things seemed like geeky and bizarre niche interests. Go back and look at the remarkable special effects in another underappreciated box-office flop, “The Adventures of Baron Munchausen,” made in 1988. He was just a few years too early, but his influence is everywhere in contemporary cinema and culture, even as his later career has been a remarkable parade of near-misses and not-quites. Not for nothing is the aging, threadbare rebel leader played by John Hurt in Bong Joon-ho’s “Snowpiercer” named Gilliam!