GIRL OF THE NORTH COUNTRY.
Interview with Paul Morressey, OUI magazine
ROSENBAUM: The Factory scene was a kind of miniature Hollywood, with stars like Joe Dallesandro, Holly Woodlawn, Viva Superstar and Ondine. If the Hollywood studio system were still operating, would you want to work in it?
MORRISSEY: Oh, yes. I always like to quote Bette Davis, who said, “I don’t think there will ever be a better system for making films.” The studio system wasn’t some idiotic director’s or producer’s or critic’s idea of how a good movie should be made. It evolved naturally out of the growth of the film industry, as an integral part of why films are made and why people go to see them. Audiences go to see people they like. Great stars are the true artists of film because they’ve understood who they are and have managed to render themselves truly. For example, what John Wayne has done is not to analyze a character — the piece of paper, the script that he’s got — but rather he has taken his own personality and kept it exactly the same for each film, in the same way a great artist keeps his personality in all the paintings he does. This is frowned upon by critics, because they believe it’s not acting. Actually, it’s the best kind of acting.
You read a good book because you meet characters you like, not because of plots or philosophical notions. The novel no longer exists because authors don’t introduce good characters. As the writing of critics became more important, it influenced the people who wrote novels. Basically, the novel thrived only when it was an individual thing between the writer and the reader.